I really need some help here please. Can you give me some pointers or help in how to identify the series of events in a story as well as identify the conflict, complications, crisis ,falling action, and resolution of a plot. How do series of events and plot work together in a story?
The story I pick is Story by Lydia Davis
I get home from work and there is a message from him: that he is not coming, that he is busy. He will call again. I wait to hear from him, then at nine o'clock I go to where he lives, find his car, but he's not home. I knock at his apartment door and then at all the garage doors, not knowing which garage door is his‑no answer. I write a note, read it over, write a new note, and stick it in his door. At home I am restless, and all I can do, though I have a lot to do, since I'm going on a trip in the morning, is play the piano. I call again at ten‑forty‑five and he's home, he has been to the movies with his old girlfriend, and she's still there. He says he'll call back. I wait. Finally I sit down and write in my notebook that when he calls me either he will then come to me, or he will not and I will be angry, and so I will have either him or my own anger, and this might be all right, since
anger is always a great comfort, as I found with my husband. And then I go on to write, in the third person and the past tense, that clearly she always needed to have a love even if it was a complicated love. He calls back before I have time to finish writing all this down. When he calls, it is a little after eleven‑thirty. We argue until nearly twelve. Everything he says is a contradiction: for example, he says he did not want to see me because he wanted to work and even more because he wanted to be alone, but he has not worked and he has not been alone. There is no way I can get him to reconcile any of his contradictions, and when this conversation begins to sound too much like many I had with my husband I say goodbye and hang up. I finish writing down what I started to write down even though by now it no longer seems true that anger is any great comfort.
I call him back five minutes later to tell him that I am sorry about all this arguing, and that I love him, but there is no answer. I call again five minutes later, thinking he might have walked out to his garage and walked back, but again there is no answer. I think of driving to where he lives again and looking for his garage to see if he is in there working, because he keeps his desk there and his books and that is where he goes to read and write. I am in my nightgown, it is after twelve and I have to leave the next morning at five. Even so, I get dressed and drive the mile or so to his place. I am afraid that when I get there I will see other cars by his house
that I did not see earlier and that one of them will belong to his old girlfriend. When I drive down the driveway I see two cars that weren't there before, and one of them is parked as close as possible to his door, and I think that she is there. I walk around the small building to the back where his apartment is, and look in the window: the light is on, but I can't see anything clearly because of the half‑closed venetian blinds and the steam on the glass. But things inside the room are not the same as they were earlier in the evening, and before there was no steam. I open the outer screen door and knock. I wait. No answer. I let the screen door fall shut and I walk away to check the row of garages. Now the door opens behind me as I am walking away and he comes out. I can't see him very well because it is dark in the narrow lane beside his door and he is wearing dark clothes and whatever light there is is behind him. He comes up to me and puts his arms around me without speaking, and I think he is not speaking not because he is feeling so much but because he is preparing what he will say. He lets go of me and walks around me and ahead of me out to where the cars are parked by the garage doors.
As we walk out there he says "Look," and my name, and I am waiting for him to say that she is here and also that it's all over between us. But he doesn't, and I have the feeling he did intend to say something like that, at least say that she was here, and that he then thought
better of it for some reason. Instead, he says that everything that went wrong tonight was his fault and he's sorry. He stands with his back against a garage door and his face in the light and I stand in front of him with my back to the light. At one point he hugs me so suddenly that the fire of my cigarette crumbles against the garage door behind him. I know why we're out here and not in his room, but I don't ask him until everything is all right between us. Then he says, "She wasn't here when I called you. She came back later." He says the only reason she is there is that something is troubling ,her and he is the only one she can talk to about it. Then he says, "You don't understand, do you?"
I try to figure it out.
So they went to the movies and then came back to his place and then I called and then she left and he called back and we argued and then I called back twice but he had gone out to get a beer (he says) and then I drove over and in the meantime he had returned from buying beer and she had also come back and she was in his room so we talked by the garage doors. But what is the truth? Could he and she both really have come back in that short interval between my last phone call and my arrival at his place? Or is the truth really that during his call to me she waited outside or in his garage or in her car and that he then brought her in again, and that when the
phone rang with my second and third calls he let it ring without answering, because he was fed up with me and with arguing? Or is the truth that she did leave and did come back later but that he remained and let the phone ring without answering? Or did he perhaps bring her in and then go out for the beer while she waited there and listened to the phone ring? The last is the least likely. I don't believe anyway that there was any trip out for beer.
The fact that he does not tell me the truth all the time makes me not sure of his truth at certain times, and then I work to figure out for myself if what he is telling me is the truth or not, and sometimes I can figure out that it's not the truth and sometimes I don't know and never know, and sometimes just because he says it to me over and over again I am convinced it is the truth because I don't believe he would repeat a lie so often. Maybe the truth does not matter, but I want to know it if only so that I can come to some conclusions about such questions as: whether he is angry at me or not; if he is, then how angry; whether he still loves her or not; if he does, then how much; whether he loves me or not; how much; how capable he is of deceiving me in the act and after the act in the telling.
My assignment is below.
Write 350 words minimum/450 words maximum for this assignment using an MS Word file formatted in .doc or .docx. Submit your completed assignment through the assignment link below as an attachment. Then, check your grade book to be certain the file has been received (a green exclamation point will appear under the assignment title). Click above on the assignment title to see the attached file for how this assignment will be graded.
Choose one of the four stories assigned as reading this seminar. Identify the series of events in the story and write a summary of them. Then, using the inverted check mark diagram on p. 169 of Imaginative Writing, identify the conflict, complications, crisis, falling action, and resolution of the plot. Compare the series of events with the plot, and explain how the two work together.
Then, identify uses of summary and scene, backstory, and flashback. If any of these devices are not present, be sure to mention they are not used.
Use details from the story to illustrate your observations.
Thank you ,
Chamell© BrainMass Inc. brainmass.com October 9, 2019, 11:33 pm ad1c9bdddf
Please allow some of my pointers to help:
First, I perceive the conflict as man versus man since the speaker of the story desperately wants to connect with the man, presumably her lover. You might also identify another conflict as man versus self since she seems to struggle to find love and acceptance of herself.
Complications and crisis occur when she cannot contact her lover despite many desperate efforts.
When she learns that "he has been to the movies with his old ...
Plot elements are studied.