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This test consists of 15 multiple choice questions and 5 short answer questions.

Multiple Choice Questions

1. What do walk-ons lend to a narrative?
(a) Realism.
(b) Questions.
(c) Unpredictability.
(d) Depth.

2. What does the author think can also provide ideas for additional characters?
(a) The future of central characters.
(b) The future of supporting characters.
(c) The pasts of central characters.
(d) The pasts of supporting characters.

3. What is one of the problems with writing based on an issue?
(a) The characters embody neither attitudes nor perspectives.
(b) The characters tend to embody perspectives with no attitudes.
(c) The characters tend to embody attitudes with no perspectives.
(d) The characters tend to embody attitudes or perspectives.

4. How does the author describe writing based on an issue?
(a) A distracting source of characters.
(b) A tricky source of characters.
(c) An ambiguous source of characters.
(d) A misleading source of characters.

5. What does the writer use with words to achieve his/her main goals?
(a) Poetic license.
(b) Research.
(c) Grammar.
(d) Structure.

6. What place can writers use as inspiration for their characters?
(a) Memory, but not observation.
(b) Observation and memory.
(c) Observation, but not memory.
(d) Observation and another person's memory.

7. What is the first way a writer can engage the reader?
(a) Creating a strong initial impression.
(b) Creating a weak initial impression that improves quickly.
(c) Creating an initial impression that does not appear strong or weak at first.
(d) Creating a weak initial impression that improves slowly.

8. Which one of the following triggers a negative reaction from readers?
(a) A character who confuses others.
(b) A character who is confusing.
(c) A character who is controlled by others.
(d) A character who wants power or control.

9. In Chapter 8, how does the author want the reader to be engaged with a character?
(a) Fully and immediately.
(b) Fully, but gradually.
(c) Partially and gradually.
(d) Immediately, but partially.

10. Why should sources of inspiration be altered?
(a) To make them more familiar.
(b) To make them more unrealistic
(c) To make them more mysterious.
(d) To make them more effective.

11. What is a writer's fundamental responsibility?
(a) To observe the world, but never to absorb nor to analyze it.
(b) To observe, absorb, and analyze the world.
(c) To observe and analyze the world, but never to absorb it.
(d) To observe and absorb the world, but never to analyze it.

12. What do the readers and creators of a contemporary narrative believe about in-depth characterization?
(a) It is expected, but not necessary.
(b) It is both expected and necessary.
(c) It is necessary, but not expected.
(d) It is neither expected nor necessary.

13. How does the author define an idea?
(a) What the reader is intended to learn, but not necessarily understand.
(b) What the reader is intended to understand and/or learn.
(c) What the reader is not intended to understand and/or learn.
(d) What the reader is intended to understand, but not necessarily learn.

14. How many of the basic elements of a narrative does milieu incorporate?
(a) One of them.
(b) Three of them.
(c) All of them.
(d) None of them.

15. According to the quote that ends Chapter 3, where does the author believe a writer can find wonderful stories?
(a) No landscapes on earth.
(b) Most landscapes on earth.
(c) Any landscape on earth.
(d) Very few landscapes on earth.

Short Answer Questions

1. What type of pain and suffering for a character causes the reader's emotional investment to expand?

2. In the subtitle of "Characters and Viewpoint", what are the three objectives that the author promises to deliver?

3. Which one of the following is not an example of a story where milieu is the prime narrative?

4. What can cause a reader to become more engaged with a character?

5. What part of a character's name provides a clear starting point for defining that character's context?

(see the answer keys)

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