Action

Meaning of action in literature

What do we mean by 'action' in literature? Here's a broad definition:

You might think this definition seems too simple, and you might be right! Academics often debate over what can conclusively be labelled 'action'.

For example, does any form of physical movement suffice? When reading about a character in a high-speed chase or a deadly sword fight, we wouldn't hesitate to think of it as action. But what about someone sipping a drink in a comfy chair, hitting the snooze button, or making themselves a sandwich? By the above definition, this still counts as action. But, shouldn't action also be exciting and significant to the story? It's up for debate.

This problem is why some writers would state that action in literature must have consequences. When we apply this definition, characters' movements that do not serve a larger purpose or meaning don't fit the definition of action.

Action, in some form, occurs in every narrative. Gustav Freytag (1816-95), a 19th-century German writer, proposed breaking down a plot into five key stages:

• Antecedent action/exposition
• Rising action
• Climax
• Falling action
• Dénouement/Resolution

To represent these stages, Freytag created a 'pyramid' illustrating the typical arc of a story.

Fig. 1 - Freytag's Pyramid breaks a narrative down into five stages, which he claimed showed the typical story arc.

Let's look in more detail at the various parts of the narrative structure.

Antecedent action in literature

Most narratives begin with some form of antecedent action:

Antecedent action usually appears in the form of exposition.

Exposition sets the stage for later action by providing vital information about characters and setting. This helps the reader comprehend the circumstances that led to the story's main events. Why is the character where they are? What is their mindset? Why are they acting in a certain way? Without exposition, a reader can often feel lost, lacking the knowledge to understand the motives that might inform a character's decision-making.

Antecedent action examples

In Jane Austen's (1775-1817) Pride and Prejudice (1813), Austen details most of the novel's main characters within the opening pages. Austen quickly establishes that Mr Bingley has purchased Netherfield Park and that the Bennet sisters are searching for suitable husbands. This exposition quickly points the reader toward the direction that the narrative will progress.

In contrast, Margaret Attwood's (1939-present)The Handmaid's Tale (1985) drops the reader into the dystopian world of Gilead with little antecedent action. Context is provided primarily through Offred's vague flashbacks, and a reader who isn't paying attention may miss certain clues.

Some works of literature provide little to no antecedent action at all. In Franz Kafka's (1883-1924) The Metamorphosis (1915), Gregor wakes up one morning as a giant beetle. How this came to be is never explained, and the reader is left to form their own interpretations about why this strange occurrence took place.

Call to action meaning in literature

What is a call to action? Here's a simple definition:

The 'call to action' would appear like this on Freytag's Pyramid:

Fig. 2 - In Freytag's pyramid, the call to action appears just after the antecedent action and before the rising action in the narrative.

The character often responds poorly to the call to action because it removes them from daily life. The call to action can also come in many forms. Let's look at a few essential ones below:

Summoned by a significant figure

One of the most common ways a character is called to action is by a significant figure who needs assistance. A member of royalty, a prestigious institution (think Hogwarts), or a powerful authority may request the services of the main character because they believe the protagonist has the particular skills required for the role.

Personal tragedy

A personal tragedy can be a powerful call to arms for a character. Having something taken away from them, like a family member or a treasured heirloom, can be an incentive to fight back, kickstarting their adventure.

Inner voice

Sometimes a call to action comes from within a character. They may have a dream they decide to chase, a love they want to pursue, or a burning desire for change. Sometimes it only takes the slightest trigger to convince a character to step out of their comfort zone.

Rising action in literature

Now we're getting into the meat of the action! Once exposition has provided contextual information and the character has been called to action, they enter the next section of the plot, known as rising action:

The rising action is typically longer than all other story parts because it builds suspense slowly. In contrast, the falling action leading from the climax to the resolution of a novel tends to progress much more quickly. This is because the exciting tension created by the rising action has already reached its crescendo, and the story is subsequently winding down. With this in mind, an updated version of Freytag's Pyramid, which takes into account the typically longer length of the rising action, would look like this:

Fig. 3 - To improve Freytag's Pyramid, we could change the arc to show rising action as a gradual ascent and falling action as a dramatic descent leading to the resolution.

The rising action eventually builds towards the climax of the story.

A climax often brings the story's key conflicts to the forefront. Hidden motives and secret plots all become clear, and the writer rewards the reader with a big payoff for their patience. For example, Mary Shelley's (1797-1851) Frankenstein (1818) reaches its climax when Frankenstein's monster murders Elizabeth on the night of her wedding, and Jane Austen's Emma (1815) reaches its climax once Emma realises that she is in love with Mr Knightley.

Falling action in literature

Following the heightened tension of the climax, a period of falling action usually begins:

Usually, the falling action will allow the characters some time to think over the events that have just occurred, mourn their losses, or celebrate victories. In some cases, the falling action can introduce new conflict, helping the writer to maintain suspense and create interest for possible sequels.

After a period of falling action, the writer must find a way to wrap up the narrative by tying up all loose ends and neatly resolving any outstanding conflicts. This conclusion is often called a resolution or dénouement

The resolution answers all of the questions that the climax couldn't address. What does the future hold for all of the characters? Have they truly fixed all of their problems? What happened to the character who escaped halfway through the narrative?

Example of action in literature

As an example of action in literature, let's analyse Fyodor Dostoevsky's (1821-81) Crime and Punishment (1866), highlighting how the narrative fits into the different stages of Freytag's theory.

Antecedent action

Dostoevsky introduces us to Raskolnikov, a poor yet proud student from St. Petersburg. We also learn that Raskolnikov is contemplating committing a terrible crime and that he feels conflicted about it. This antecedent action contextualises the main narrative by introducing us to the living situation, characteristics, and motives of Raskolnikov, all of which will play a considerable part in the narrative.

Call to action

The call to action in Crime and Punishment is the letter Raskolnikov receives from his mother, in which he learns that his sister, Dunechka, will marry a government official. Furious at this, Raskolnikov becomes enraged at the state of society, resolving to kill a local pawnbroker and her half-sister.

Rising action

After local police become suspicious that Raskolnikov is the murderer, several authority figures question, trick, and taunt him. The guilt and confusion he feels about his crimes slowly increase, building tension towards the climax. His mind races with conflicting emotions, his psychological state deteriorates, and his actions become increasingly reckless.

Climax

In a dramatic climax, Raskolnikov confesses everything to Sonia, the one girl he feels he can trust. The confession takes a weight off his shoulders and allows him to begin his path to redemption.

Falling action

After his suspenseful confession, the action declines as Raskolnikov debates whether he should confess his crime to the police.

Resolution

Raskolnikov confesses his crimes to police officials and is sent to Siberia for eight years of hard labour. We learn that Sonia has moved to the town outside the prison. Raskolnikov finally shows remorse for his crime and realises that he loves her. The resolution offers the reader a future for Raskolnikov in which he can redeem himself and return as a functioning member of society.