Examine individual changes

'{{Other uses}} {{wiktionary|fiction}} [[Image:Alice par John Tenniel 30.png|thumb|right|An illustration from [[Lewis Carroll]]'s ''[[Alice's Adventures in Wonderland]]'', depicting the fictional [[protagonist]], [[Alice (Alice's Adventures in Wonderland)|Alice]], playing a [[fantasy|fantastical]] game of croquet.]] '''Fiction''' is the form of any [[narrative]] or [[report|informative]] work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary&mdash;that is, invented by the [[author]]. Although fiction describes a major branch of [[literature|literary work]], it may also refer to [[theatre|theatrical]], [[film|cinematic]] or [[song|musical work]]. Fiction contrasts with [[non-fiction]], which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g.: [[Biography|biographies]], [[History|histories]]). == Types of Fiction == === Realistic Fiction === Realistic fiction, although untrue, could actually happen. Some events, people, and places may even be real. Also, it can be possible that in the future these events could physically happen. For example, Jules Verne's [[From The Earth To The Moon]] novel, which at that time was just a product of a rich imagination, was proven possible in 1969, when Neil Armstrong and Buzz Aldrin set foot on the moon, and the team returned safely to Earth. Realist fiction appears to the reader to be something that is actually happening === Non-realistic Fiction === Non-realistic fiction is that in which the story's events could not happen in real life, because they are supernatural, or involve an alternate form of history of mankind other than that recorded, or need [[impossible technology]]. A good deal of fiction books are like this, e.g. [[Alice In Wonderland]] and [[Harry Potter]]. === Semi-fiction === '''Semi-fiction''' is fiction implementing a great deal of non-fiction,<ref>{{Cite journal | url = http://papers.ssrn.com/sol3/papers.cfm?abstract_id=981296 | title = The Role of Narrative Fiction and Semi-Fiction in Organizational Studies | first1 = G. | last1 = Whiteman | first2 = N. | last2 = Phillips | journal = ERIM Report Series Research in Management | date = 13 December 2006 | issn = 1566-5283 | accessdate = 23 October 2009}}</ref> for example: a fictional depiction "[[based on a true story]]", or a fictionalized account, or a reconstructed biography. == Elements of fiction == Even among writing instructors and bestselling authors, there appears to be little consensus regarding the number and composition of the fundamental elements of fiction. For example: * "Fiction has three main elements: plotting, character, and place or setting." {{Harvard citation | Morrell | 2006 | p = 151}} * "A charged image evokes all the other elements of your story—theme, character, conflict, setting, style, and so on." {{Harvard citation | Writer's Digest Handbook of Novel Writing | 1992 | p = 160}} * "For writers, the spices you add to make your plot your own include characters, setting, and dialogue." {{Harvard citation | Bell | 2004 |p = 16}} * "Contained within the framework of a story are the major story elements: characters, action, and conflict." {{Harvard citation | Evanovich | 2006 | p = 83}} * " . . . I think point of view is one of the most fundamental elements of the fiction-writing craft . . . ." {{Harvard citation | Selgin | 2007 | p = 41}} As stated by Janet Evanovich, "Effective writing requires an understanding of the fundamental elements of storytelling, such as point of view, dialogue, and setting." {{Harvard citation | Evanovich | 2006 | p = 39}} The debate continues as to the number and composition of the fundamental elements of fiction.{{Citation needed|date=February 2011}} === Plot === '''[[plot (narrative)|Plot]]''', is what the character(s) did, said, and thought. It is the Action Proper given unity by the Enveloping Action, the Universal Action, the Archetypal Action. As Aristotle said, What gives a story unity is not as the masses believe that it is about one person but that it is about one action. Plot, or storyline, is often listed as one of the fundamental elements of fiction. It is the rendering and ordering of the events and actions of a story. On a micro level, plot consists of action and reaction, also referred to as stimulus and response. On a macro level, plot has a beginning, a middle, and an ending. Plot is often depicted as an arc with a zig-zag line to represent the rise and fall of action. Plot also has a mid-level structure: scene and summary. A [[scene (fiction)|scene]] is a unit of drama—where the action occurs. Then, after a transition of some sort, comes the summary—an emotional reaction and regrouping, an aftermath. For a delightful tongue-in-cheek comment on plot, see Katherine Anne Porter's "No Plot, My Dear, No Story" in The Occasional Writings and Collected Essays of Katherine Anne Porter, Seymour Lawrence, 1970. === [[Exposition (literary technique)|Exposition]] === Exposition refers to a fiction story's initial setup, where, variably, setting is established, characters are introduced, and conflict is initiated. For example: ''It was a dark and stormy night. The young widow glared at the shadowy man dripping on her kitchen floor. "I told you my husband's not home," she said.'' ''He smiled a rictus smile and shut the door behind him. "Tell me something I don't know."'' === [[Foreshadowing]] === '''Foreshadowing''' is a [[Literary technique|technique]] used by authors to provide clues for the reader to be able to predict what might occur ''later'' in the story. In other words, it is a technique in which an [[author]] drops subtle hints about [[Plot (narrative)|plot]] developments to come later in the [[narrative|story]]. It prepares the reader for later action and subsequent images so that the reader or spectator is not jarred and verisimilitude is maintained even in science fiction, fantasy, magical realism, and other genres that might otherwise test credulity. If such preparation is recognized as such by the reader or spectator, it may fail to be effective and seem artificial. === [[Rising action]] === '''The Rising action''', in the [[narratology|narrative]] of a work of fiction, follows the [[Exposition (literary technique)|exposition]] and leads up to the [[Climax (narrative)|climax]]. The rising action's purpose is usually to build suspense all the way up the climactic finish. The rising action should not be confused with the middle of the story, but is the action right before the climax. The material beyond the climax is known as the [[falling action]]. In a work of fiction, the climax often resembles that of the classical comedy, occurring near the end of the text or performance, after the [[rising action]] and before the [[falling action]]. It is the moment of greatest danger for the [[protagonist]](s) and usually consists of a seemingly inevitable prospect of failure- it surprises you to the point that gets you excited to see what is to come in the end. A climax often includes three elements. The most important element is that the protagonist experiences a change. The main character discovers something about himself or herself, and another unknown character. The last element is revealing the theme itself. === [[Falling action]] === '''The Falling action''' is the part of a story, usually found in [[tragedy|tragedies]] and [[short story|short stories]], following the [[Climax (narrative)|climax]] and showing the effects of the climax. It leads up to the [[denouement]] (or [[catastrophe (drama)|catastrophe]]).<ref name="fall1">Greenville College (2006). [http://www.greenville.edu/faculty/bshaw/eng201/plota.htm Plot A: The Pattern of the Action]</ref> Where the story is settling down and you start to get the climax and where it might be resolved. === [[Denouement|Resolution]] === '''Resolution''' occurs after the climax, where the conflict is resolved. It may contain a moment of final suspense, during which the final outcome of the conflict is in doubt. === [[Conflict (narrative)|Conflict]] === '''Conflict''' is a necessary element of fictional [[literature]]. As Brooks and Warren said in Understanding Fiction and as many others have noted, no conflict, no story. Often it is difficult for readers to discern conflict in sophisticated fiction but its locus is always focused on the protagonist. In order for the story to engage the reader or spectator, the conflict can usually be discerned as immediate, urgent, and insoluble. Furthermore, the conflict that is one between good and evil depends upon whether the reader or spectator prefers good or evil and is thus a slight story at best. It is defined as the problem in any piece of [[literature]] and is often classified according to the nature of the [[protagonist]] or [[antagonist]], as follows: ==== Types of conflict ==== There are '''five''' basic types of conflict. In ancient cultures Person vs. Fate often constitute the conflict of the story; however, so many people today believe they are in charge of their own destiny that few stories of this ilk can be found. In modern times, '''Person vs. Machine''', also known as '''Person vs. Technology''', has become another one.<ref name="name">{{cite web|url=http://www.orangeusd.k12.ca.us/yorba/literary_elements.htm|title=Literary elements|last=Bokesch|first=Laura |accessdate=2008-08-22}}</ref> ===== Person vs. Self ===== '''Person vs. Self''' is the [[Theme (literature)|theme]] in [[literature]] that places a [[fictional character|character]] against their own [[will (philosophy)|will]], [[confusion]], or [[fear]]s. Person vs. Self can also be where a character tries to find out who they are or comes to a realization or a change in character. Although the struggle is internal, the character can be influenced by external forces. The struggle of the [[human being]] to come to a decision is the basis of Person vs. Self. Examples include the titular character of ''[[Beowulf]]''. More recently, the [[Academy Awards|Academy Award]] winning movie ''[[A Beautiful Mind (film)|A Beautiful Mind]]'' has been posited as an application of Person vs. Self. Faulkner in his Nobel Prize acceptance speech noted that the great stories are those of the human heart in conflict with itself. With that in mind the other conflicts enumerated here can fade into the background as part of the setting rather than the conflict-in-itself of any given story. A simple, ready example may be Jack London's "To Build a Fire" wherein we can see that the conflict is not Man vs. Nature but Man vs. His Own Nature. ===== Person vs. Person ===== '''Person vs. Person''' is a [[Theme (literature)|theme]] in [[literature]] in which the main character's [[Conflict (narrative)|conflict]] with another person is the focus of the story. An example is the hero's conflicts with the central villain of a work, which may play a large role in the plot and contribute to the development of both characters. There are usually several confrontations before the climax is reached. The conflict is external. An example is the conflict between Judah and Messala in ''[[Ben-Hur: A Tale of the Christ|Ben-Hur]]'',as would be the conflict between a bully and his victim. ===== Person vs. Society ===== '''Person vs. Society''' is a [[Theme (literature)|theme]] in fiction in which a main character's, or group of main characters', main source of conflict is [[Social conditioning|social tradition]]s or concepts. In this sense, the two parties are: a) the protagonist(s); b) the society of which the protagonist(s) are included. Society itself is often looked at as a single character, just as an opposing party would be looked at in a ''Person vs. Person'' conflict.This can also be one protagonist against a group or society of antagonists or society led by some antagonistic force. An example in literature would be ''[[Wuthering Heights]]'' by [[Emily Brontë]]. ===== Person vs. Nature ===== '''Person vs. Nature''' is the [[Theme (literature)|theme]] in [[literature]] that places a [[fictional character|character]] against forces of nature. Many [[disaster film]]s focus on this theme, which is predominant within many survival stories. It is also strong in stories about struggling for survival in remote locales, such as [[Gary Paulson]]'s ''[[Hatchet (novel)|Hatchet]]'' or [[Jack London]]'s short story "[[To Build a Fire]]". ===== Person vs. Supernatural ===== '''Person vs. Supernatural''' is a [[Theme (literature)|theme]] in [[literature]] that places a [[fictional character|character]] against [[supernatural]] forces. When an entity is in conflict with him-, her-, or itself, the conflict is categorized as '''internal''', otherwise, it is '''external'''. Such stories are often seen in [[Psychoanalytic literary criticism|Freudian Criticism]] as representations of [[Id, ego, and super-ego|id vs. superego]]. [[Bram Stoker]]'s ''[[Dracula]]'' is a good example of this, as well as ''[[Frankenstein]]'' by [[Mary Shelley]] and ''[[Christabel (poem)|Christabel]]'' by [[Samuel Coleridge]]. It is also very common in [[comic book]]s. ===== Person vs. Machine/Technology ===== '''Person vs. Machine/Technology''' places a character against robot forces with "[[artificial intelligence]]". ''[[I, Robot (film)|I, Robot]]'' and the ''[[Terminator (franchise)|Terminator]]'' series are good examples of this conflict. === Character === '''[[Characterization]]''' is often listed as one of the fundamental elements of fiction. A '''[[fictional character|character]]''' is a participant in the story, and is usually a person, but may be any personal identity, or entity whose existence originates from a fictional work or performance. Characters may be of several types: *'''[[Point of view (literature)|Point-of-view]] character''': The character from whose perspective (theme) the audience experiences the story. This is the character that represents the point of view the audience will empathise, or at the very least, sympathise with. Therefore this is the "Main" Character. *'''[[Protagonist]]''': The driver of the action of the story and therefore responsible for achieving the story's Objective Story Goal (the surface journey). In western storytelling tradition the Protagonist is usually the Main Character. *'''[[Antagonist]]''': The character that stands in opposition to the protagonist. *'''[[Static character]]''': A character who does not significantly change during the course of a story. *'''[[Dynamic character]]''': A character who undergoes [[Characterization#Character development|character development]] during the course of a story. *'''[[Foil (literature)|Foil]]''': The character that contrasts to the protagonist in a way that illuminates their personality or characteristic. *'''[[Supporting character]]''': A character that plays a part in the plot, but is not major *'''[[Minor character]]''': A character in a bit/[[Cameo appearance|cameo]] part. === Methods of developing characters === *[[Human physical appearance|Appearance]]: explains or describes the character's outward appearance for the readers to be able to identify them *[[Dialogue]]: what they say and how they say it *[[Action (literature)|Action]]: what the character does and how he/she does it *Reaction of others: how other characters see and treat him/her === [[Symbolism (arts)|Symbolism]] === '''Symbolism''' is the applied use of [[symbol]]s: iconic representations that carry particular conventional meanings. The term "symbolism" is limited to use in contrast to "[[representationalism]]"; defining the general directions of a linear [[spectrum (disambiguation)|spectrum]] – where in all symbolic concepts can be viewed in relation, and where changes in context may imply systemic changes to individual and collective definitions of symbols. "Symbolism" may refer to a way of choosing representative symbols in line with abstract rather than literal [[property|properties]], allowing for the broader interpretation of a carried [[Meaning (semiotics)|meaning]] than more literal concept-representations allow. A [[religion]] can be described as a language of concepts related to human [[spirituality]]. Symbolism hence is an important aspect of most [[Religious symbolism|religions]]. The interpretation of abstract symbols has had an important role in [[religion]] and [[psychoanalysis]]. As envisioned by [[Sigmund Freud]] and [[Carl Jung]], symbols are not the creations of mind, but rather are distinct capacities within the mind to hold a distinct piece of information. In the mind, the symbol can find free association with any number of other symbols, can be organized in any number of ways, and can hold the connected meanings between symbols as symbols in themselves. Jung and Freud diverged on the issue of common cognitive symbol systems and whether they could exist only within the individual mind or among other minds; whether any cognitive symbolism was defined by innate symbolism or by the influence of the environment around them. === [[Metaphor]] === '''Metaphor''' (from the [[Greek language]]: Meaning "transfer") is language that directly compares seemingly unrelated subjects. It is a figure of speech that compares two or more things not using like or as. In the simplest case, this takes the form: "The ''[first subject]'' is a ''[second subject]''." More generally, a metaphor is a [[rhetoric]]al [[Trope (linguistics)|trope]] that describes a first subject as ''being'' or ''equal to'' a second object in some way. Thus, the first subject can be economically described because implicit and explicit attributes from the second subject are used to enhance the description of the first. This device is known for usage in [[literature]], especially in [[poetry]], where with few words, emotions and associations from one context are associated with objects and entities in a different context. A simpler definition is the comparison of two unrelated things without using the words "like" or "as". The term derives from [[Greek language|Greek]] ''μεταφορά'' (''metaphora''), or "transference",<ref>[http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3D%2367015 Metaphora], Henry George Liddell, Robert Scott, ''A Greek-English Lexicon'', at Perseus</ref> from ''μεταφέρω'' (''metaphero'') "to carry over, to transfer"<ref>[http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3D%2367010 Metaphero], Henry George Liddell, Robert Scott, ''A Greek-English Lexicon'', at Perseus</ref> and that from ''μετά'' (''meta''), "between"<ref>[http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3D%2366573 Meta], Henry George Liddell, Robert Scott, ''A Greek-English Lexicon'', at Perseus</ref> + ''φέρω'' (''phero''), "to bear, to carry".<ref>[http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3D%23110599 Phero], Henry George Liddell, Robert Scott, ''A Greek-English Lexicon'', at Perseus</ref> === Types of plots === === [[Chronological order]] === All of the events occur in the order in which they happened in writing. There may be references to events from the past or future, however the events are written in time order. There will not be flashbacks/flash forwards. === [[Flashback (narrative)|Flashback]] === In history, film, television and other media, a '''flashback''' (also called '''analepsis''') is an interjected [[scene (fiction)|scene]] that takes the narrative back in time from the current point the [[Plot (narrative)|story]] has reached. Flashbacks are often used to recount events that happened prior to the story's primary sequence of events or to fill in crucial [[backstory]]. '''Character origin flashbacks''' specifically refers to flashbacks dealing with key events early in a character's development ([[Superman|Clark Kent]] discovering he could fly, for example, or [[Fullmetal Alchemist|the Elric brothers']] attempt to bring back their mother). The television show [[Lost (tv series)|Lost]] is particularly well known for extensive use of flashbacks in almost every episode. In the opposite direction, a [[flashforward]] (or prolepsis) reveals events that will occur in the future. The technique is used to create suspense in a story, or develop a character. In literature, '''internal analepsis''' is a flashback to an earlier point in the narrative; '''external analepsis''' is a flashback to before the narrative started. === [[Setting (fiction)|Setting]] === '''[[Setting (fiction)|Setting]]''', the location and time of a story, is often listed as one of the fundamental elements of fiction. Sometimes setting is referred to as '''milieu''', to include a context (such as society) beyond the immediate surroundings of the story. In some cases, setting becomes a character itself and can set the tone of a story. {{Harvard citation|Rozelle|2005|p=2}} === [[Theme (literature)|Theme]] === '''[[Theme (literature)|Theme]]''', a conceptual distillation of the story, is often listed as one of the fundamental elements of fiction. It is the central idea or insight serving as a unifying element, creating cohesion and is an answer to the question, 'What did you learn from the piece of fiction?' In some cases a story's theme is a prominent element and somewhat unmistakable. {{Harvard citation|Morrell|2006|p=263}} === [[Style (fiction)|Style]] === '''Style''' is not so much ''what'' is written, but ''how'' it is written and interpreted. [[Style (fiction)|Style]] in fiction refers to language conventions used to construct the story or article. A fiction writer may manipulate diction, sentence structure, phrasing, dialogue, and other aspects of language to create style or mood. The communicative effect created by the author's style is sometimes referred to as the story's voice. Every writer has his or her own unique style, or voice {{Harvard citation|Provost|1988|p=8}}. Style is sometimes listed as one of the fundamental elements of fiction. Writer [[Philip Roth]] defined the "''sensuous'' aspects of fiction" as "tone, mood, voice, and, among other things, the juxtaposition of the narrative events themselves".<ref name="Reading">[[Philip Roth]] letter to critic [[Diana Trilling]], dated July 27, 1969. It was first published in {{cite book |title=Reading Myself and Others |first=Philip |last=Roth |year=1975 |publisher=Farrar, Straus and Giroux |location=New York |isbn=0-374-24753-6}}. The letter was later republished in literary magazine ''[[Five Dials]]'', in ''[http://fivedials.com/fivedials Number 9: The Fiction Issue]'', as ''An Interruption: Writer vs Critic #4'', pp.34–6</ref> ==Types of mythic fantasy== Genre Fantasy, based on the use of mythologies of the peoples of the world [9]. On the basis of mythological distinction: Fantasy on the western mythology [10], a fantasy on the German-Scandinavian mythology (Elizabeth Dvoretskaya ship in the fjord), Fantasy on Celtic mythology (the works about the Holy Grail), a fantasy on Slavic mythology [11] Fantasy on Russian mythology [12], a fantasy on the eastern mythology [13] Fantasy on Japanese mythology [14], in African mythology fantasy ("In the thinking kingdoms" Alan Foster "On Stranger Tides" by Tim Powers, "Children of Anansi," Neil Gaiman), fantasy in Indian mythology (Andre Norton), a fantasy on the mythology of Australian aborigines (Patricia Wrightson) [15], a fantasy on the mythology of Oceania (Michael Scott Rohan), Fantasy on Eskimo mythology (by Larry Niven, Steven Barnes Barsoom Project), a fantasy for a few mythologies (" American Gods "Neil Gaiman), fantasy author on mythology (a series of Middle Earth JRR Tolkien, John, Katherine Kurtz Chronicles Derin, Ursula Le Guin Earthsea, Dune, Frank Herbert), a fantasy on the technological mythology (" We live here, "Cycle of the Abyss hungry Eye, Henry Lion Oldie) and other == Categories == {{main|Literary genre}} Types of prose fiction: * [[Flash fiction]]: A work of fewer than 2,000 words. (1,000 by some definitions) (around 5 pages) * [[Short story]]: A work of at least 2,000 words but under 7,500 words. (5–25 pages) * [[Novelette]]: A work of at least 7,500 words but under 17,500 words. (25–60 pages) * [[Novella]]: A work of at least 17,500 words but under 50,000 words. (60–170 pages) * [[Novel]]: A work of 50,000 words or more. (about 170+ pages) * [[Epic poetry|Epic]]: A work of 200,000 words or more. (about 680+ pages)<ref group=n>counting a page roughly as 300 words.</ref><ref group=n>a professional writer usually writes an average of 500–1000 words per day. [[Stephen King]] stated he writes an average of 2000 words per day, every day.{{citation needed|date=October 2011}} <!--Given a citation, this Note should be a Reference: delete "group=n" --> </ref> == Forms of fiction == Traditionally, fiction includes [[novel]]s, [[short story|short stories]], [[fables]], [[fairy tales]], [[Play (theatre)|plays]], [[poetry]], but it now also encompasses [[fictional film|films]], [[comic book]]s, and [[video games]]. The [[Internet]] has had a major impact on the distribution of fiction, calling into question the feasibility of [[copyright]] as a means to ensure [[royalties]] are paid to copyright holders. Also, [[digital libraries]] such as [[Project Gutenberg]] make [[public domain]] texts more readily available. The combination of inexpensive home computers, the Internet and the creativity of its users has also led to new forms of fiction, such as interactive [[computer game]]s or computer-generated comics. Countless forums for [[fan fiction]] can be found online, where loyal followers of specific [[fictional realm]]s create and distribute derivative stories. The Internet is also used for the development of [[blog fiction]], where a story is delivered through a [[blog]] either as flash fiction or [[serialblog]], and [[collaborative fiction]], where a story is written sequentially by different authors, or the entire text can be revised by anyone using a [[wiki]]. == Uses of fiction == Although fiction may be viewed as a form of entertainment, it has other uses. Fiction has been used for instructional purposes, such as fictional examples used in [[school]] textbooks. It may be used in [[propaganda]] and [[advertising]]. Although they are not necessarily targeted at children, [[fable]]s offer an explicit moral goal. A whole branch of literature crossing entertainment and science speculation is [[Science fiction]]. A less common similar cross is the [[Philosophical novel|philosophical fiction]] hybridizing fiction and philosophy, thereby often crossing the border towards propaganda fiction. These kinds of fictions constitute thought experiments exploring consequences of certain technologies or philosophies. == Semi-fiction == Semi-fiction spans stories that include a substantial amount of non-fiction. It may be the retelling of a true story with only the names changed. Often, however, even when the story is claimed to be true, there may be significant additions and subtractions from the true story in order to make it more suitable for storytelling. The other way around, semi-fiction may also involve fictional events with a semi-fictional character. Semi-fiction, at last, relies on author's imagination or interests to fill the gaps between reality and the final story. == See also == {{Wikiversity|Collaborative_play_writing}} :''Main list: [[Outline of fiction]]'' *[[Fictional character]] *[[Fiction writing]] **[[Fan fiction]] *[[Pseudohistory]] *[[Writing style]] *[[Non-fiction]] *[[Paranoid fiction]] *[[History of fiction]] *[[Creative nonfiction]] == Notes == {{reflist|group=n}} ==References== {{reflist}} [[Category:Fiction| ]] [[Category:Fiction forms]] [[Category:Genres]] [[Category:Narratology|*]] [[ar:خيال]] [[an:Ficción]] [[be-x-old:Мастацкая літаратура]] [[bg:Художествено произведение]] [[bs:Fikcija]] [[ca:Ficció]] [[ceb:Piksiyon]] [[da:Fiktion]] [[de:Fiktion]] [[es:Ficción]] [[eo:Fikcio]] [[fa:تخیلی]] [[fr:Fiction]] [[gl:Ficción]] [[hr:Fikcija]] [[id:Fiksi]] [[is:Skáldskapur]] [[it:Fiction]] [[ko:허구]] [[he:סיפורת]] [[la:Fictio]] [[nl:Fictie]] [[ja:フィクション]] [[no:Fiksjon]] [[nn:Fiksjon]] [[oc:Ficcion]] [[pnb:فکشن]] [[pl:Fikcja literacka]] [[pt:Ficção]] [[ro:Ficțiune]] [[ru:Художественная литература]] [[sq:Fiktivi]] [[simple:Fiction]] [[sl:Fikcija]] [[sr:Фикција]] [[sh:Fikcija]] [[fi:Kuvitelma]] [[sv:Fiktion]] [[uk:Художня література]] [[vi:Hư cấu]] [[war:Susmatanon]] [[zh:虛構]]'