Foil Foil Definition In literature, a foil is a character that shows qualities that are in contrast with the qualities of another character. The objective is to highlight the traits of the other character. The term foil, though generally being applied to a contrasting character, may also be used for any comparison that is drawn to portray a difference between two things.
However, the instructional part of literature can be easily misunderstood. After all, what does it practically mean to teach with literature? Does it mean to include random sermons midway through the novel? To end your book with a detailed explanation of what the book was supposed to do?
Hopefully not, but then what does it mean? Many things go into a successful theme in order to make a novel instructive as well as entertaining. However, one of the most important ways that a theme is brought across is by using the various characters in your book as positive and negative character examples.
Foil characters are one of my favorite writing tropes to utilize for several reasons. One reason I enjoy utilizing foil characters is that you can use them to develop your theme very well while still being subtle, thus avoiding the preaching that too often happens in Christian fiction.
Another reason is that they add a good bit of beauty to the literary text through the use of parallel. What is a foil character? Essentially, a foil character is someone who an author sets in contrast to another character normally the main character in order to highlight certain virtues or flaws of one or both of the characters.
Foil characters are essentially a paradox of similarity and dissimilarity. Both characters look almost exactly alike: They also both love the same woman: But at that point, the similarities end: Carton is a drunkard and allows himself to be used by others, and Darnay is successful and strong-willed.
By creating parallels and contrasts like this, Dickens brings both of these characters to the forefront of the book and uses their opposites as a way of deepening both characters.
Foil characters are also often seen in superhero films, as the antagonist is often a foil of the main character. To look at some examples briefly, in Captain America: The First Avenger, both Captain America and Red Skull have immense physical prowess due to the serum, but one uses his power to preserve life while the other uses it to take life.
In Man of Steel, both Superman and Zod have the same Kryptonian powers, but Superman uses it to preserve humanity while Zod tries to use it to preserve Krypton. The different routes they take then define their characters.
Hopefully, all these examples have begun to make it somewhat-clear what foil characters are and how they tend to be used in fiction.
However, there is a distinction that needs to be drawn between minor characters when they act as foils and villains when they act the part. Some writers argue that only minor characters can really be foils, and that villains are a separate category.
I personally think the designation can be used for both: When the hero and the villain are both acting as foils, the purpose of making the villain a foil is often to drive the story conflict.
However, when the hero and a minor character are both acting as foils, then the foil often serves as a way of shedding light on what type of person the main character is. However, you may still have a question, namely: How can they be practically used?A quick Google search will reveal advice from writers and editors and other writing professionals that says to never include semicolons in fiction.
I can’t see being so dogmatic. If a punctuation mark serves the story—or if it’s a style trait of the writer—use it. The use of dialogue is prevalent in fiction, but this technique can also be found in poetry, non-fiction, films, and drama.
The dialogue has several purposes, such as advancing the plot of a narrative, and revealing the . The genre of horror has ancient origins with roots in folklore and religious traditions, focusing on death, the afterlife, evil, the demonic and the principle of the thing embodied in the person.
These were manifested in stories of beings such as witches, vampires, werewolves and yunusemremert.coman horror fiction became established through works by the Ancient Greeks and Ancient Romans.
Unless you’re writing dialogue in complete sentences for one character in your work of fiction, perhaps to emphasize a cultural difference or a high-class upbringing, few people really talk that way.
Dialogue is the speech of fiction, the talk between two or more characters. It is speech appropriate for the story, verbal communication that works with and for, not against, the fiction.
Good dialogue draws the reader into an . Dialogue [in writing] must have direction. Each exchange of dialogue must turn the beats of the scene yet it must sound like talk.
This excerpt from Thomas Harris’ The Silence of the Lambs is a beautiful example of exactly that.