Spoiler Alert! If you have not read A Christmas Carol, hop to it! It’s a novella, so it’s super-short, plus, you can get a free ebook copy via Project Gutenberg, or read it via your browser. Personally, I recommend the browser version because then you can see the original full-color illustrations by John Leech, which are lovely. Even if you decide to read it via a device, check out those illustrations because they are lovely.

While there have been any number of versions of this story as films, I recommend reading the original. This is because no film version quite captures the nuance and depth of the original text. This is why I have based this entire analysis on the text. Let’s dive into our analysis of A Christmas Carol.

ACT 1: In Act 1, we meet our protagonist, Ebenezer Scrooge. He is a miserly, stingy man, who doesn’t even let his clerk have coal to make a fire. He has a grumpy disposition and he doesn’t care for other people. He is a This excerpt best captures Scrooge’s character:

External heat and cold had little influence on Scrooge. No warmth could warm, no wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn’t know where to have him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. They often “came down” handsomely, and Scrooge never did.

As Act 1 develops, we learn that Scrooge has a particular distaste for Christmas. When people (like his cheerful nephew) mention Christmas, his response is “Bah! Humbug!” Throughout Act 1 we also see examples of Scrooge’s miserly attitude. He refuses to give money to help the poor, absolutely will not dine for Christmas at his nephew’s house, and when his clerk asks for Christmas day off, he balks and says: “”A poor excuse for picking a man’s pocket every twenty-fifth of December!” 

His stinginess is not just reserved for others, but for himself as well. He eats “his melancholy dinner in his usual melancholy tavern” all alone, and even his home is not truly his, but belonged to his deceased business partner, Jacob Marley. After changing for bed, he sits down in front of the fire to eat his gruel. Clearly, while this man has much money, there is nothing about him tht is extravagant.

The five promises also get answered within the first stave (or chapter).

Character: Ebenezer Scrooge is our protagonist and we follow him throughout the story.

Voice: The novella is told entirely through Scrooge’s limited third person point of view so we have access to his thoughts, but no one else’s. Also, keep in mind that the third person narrator occasionally interjects and speaks directly to the reader. This gives us a sense of the story being told to us by someone who has seen the events unfold.

World: The story takes place at the time in which it was published, the mid-9th century. The setting is London.

Problem: Scrooge detests Christmas almost as much as he dislikes being in the company of others or spending money. Yet everyone around him is in the Christmas spirit. His nephew invites him to dine for Christmas. Two gentlemen call upon him at his office, asking for money for the poor. And even his own clerk has the audacity to ask for Christmas day off. Scrooge has jut about had it with all this Christmas nonsense. Bah! Humbug!

Event: The story begins with his partner, Jacob Marley, dead. Seven years later, on Christmas Eve, as Scrooge goes home and opens his front door, the knocker transforms to look like Jacob Marley’s ghostly face.

PIVOT POINT 1:  Scrooge locks the door and retires to his room. Suddenly the ghost of Jacob Marley walks in through the double-locked door, dragging chains and boxes of riches. When Scrooge asks about the chains, Marley says: “I wear the chain I forged in life… I made it link by link, and yard by yard; I girded it on of my own free will, and of my own free will I wore it.”

Then he continues to tell Scrooge that his own chains will be even heavier and longer in the afterlife. He says: “the weight and length of the strong coil you bear yourself? It was full as heavy and as long as this, seven Christmas Eves ago. You have laboured on it, since.” Scrooge is afraid.

The ghost of Marley tells him that there is a chance for him yet. He will be haunted by three Spirits over the course of three nights. As he says to Scrooge: “”Without their visits… you cannot hope to shun the path I tread.” Scrooge immediately resists, first saying he would rather not, then trying to bargain with the ghost that maybe the Spirits could visit him all at once. While Scrooge does not openly acquiesce, at the end of the stave, when he tries to say “Humbug!” he stops himself.

As we’ve discussed in the past, every pivot point has two components: an external event and an internal choice. In this case, the external event is the appearance of Jacob Marley’s ghost. The internal choice, on the other hand, is Scrooge complying with the visit of the three Spirits.

ACT 2:  In Act 2, we have two of the three Spirit visits: Ghost of Christmas Past, and the Ghost of Christmas Present. (The Ghost of Christmas Future arrives in Act 3) All three of these Spirits take Scrooge around to different locations, where he can see both events of Christmas in the past, present, and future. As Scrooge makes these visits, his outlook begins to change.

Ghost of Christmas Past: This Spirit is small like a child, with a candle flame coming up out of its head and a cap shaped like a candle extinguisher.

The journey begins at the school where he had been a young boy. While all the other boys cheerfully went home for the holidays, Scrooge was left stranded at the school. While he sees himself alone and neglected, he feels pity for his past self and in feeling that pity he begins to empathize with others (in particular a boy who came caroling to his office the day before).

After visiting his former self at school, the Spirit takes him a little into the future, when Scrooge was a young apprentice for Mr. Fezziwig. On Christmas eve, Fezziwig and his wife had all their employees clear away the desks and furniture in the warehouse where they worked and they threw a dance to celebrate the holiday. Seeing the sort of employer that Fezziwig was and how kindly he treated his employees, Scrooge says to the Spirit:

He has the power to render us happy or unhappy; to make our service light or burdensome; a pleasure or a toil. Say that his power lies in words and looks; in things so slight and insignificant that it is impossible to add and count ’em up: what then? The happiness he gives, is quite as great as if it cost a fortune.

Scrooge begins to realize how unkind he has been to his clerk and when the Spirit asks if something is the matter, he says: “​​I should like to be able to say a word or two to my clerk just now. That’s all.”

The third visit Scrooge makes in the past is where he sees himself talking to a young woman. As the scene unfolds, it becomes clear that they have been engaged, but she is now releasing Scrooge of the commitment because she has been replaced with an idol of gold (i.e., money.)

Scrooge’s preoccupation with wealth and greed has supplanted the love he once felt for this young woman, and even if he were to force himself to stand by the engagement, she insists that he would eventually regret it. At this, Scrooge begs the Spirit to stop and show him no more, but the Spirit insists on one more vision. This time the Spirit shows a woman and her children waiting for her husband to get home. The family is loving and kind, a clear illustration of everything that Scrooge could have had but chose to give up.

At this point, Scrooge has had it with the Spirit. He takes its extinguisher cap and plops it on its head, putting out the candle flame and reducing the Spirit to nothing. While Scrooge does have a few moments throughout this journey to the past where he begins to show a change of heart, this final action reveals that he is not yet ready to make a change.

Ghost of Christmas Present: This Spirit is a giant and is dressed in a long robe with a holly wreath on its head. It holds a torch shaped cornucopia.

The first stop on their journey is the house of Bob Cratchit, Scrooge’s clerk. Interestingly, Bob is not mentioned by name until this point in the story. It is as if, until we see him in his home environment, that Bob’s very identity is defined by being Scrooge’s employee. It is only here that we see Bob as a fully-developed character, one with a loving family and a young, disabled son, Tiny Tim.

In this scene at the Cratchit house, Scrooge sees a family that has virtually nothing, but even so are grateful for what they do have. Bob even goes so far as to toast to Scrooge and calls him the “Founder of the Feast.” While his wife is not as enthusiastic about drinking to Scrooge’s health, she eventually does, as do the children. This scene shows Scrooge that true wealth comes from kindness and love, rather than money.

MIDPOINT: During the visit to the Cratchit home, Scrooge asks the Spirit what will become of Tiny Tim. The Spirit answers: “I see a vacant seat… in the poor chimney-corner, and a crutch without an owner, carefully preserved.” This is a false failure because it looks like the worst possible outcome will happen, but it turns out not to be the case. In fact, without Scrooge believing that Tiny Tim would die, he will never reach his change of heart.

When the Spirit tells him what is to come, Scrooge begs the Spirit to let Tiny Tim live and the Spirit quotes his own words back at him: “If he be like to die, he had better do it, and decrease the surplus population.” These are the self-same words Scrooge said earlier when the gentlemen visited his office, asking him to give money to help the poor. In this moment, Scrooge starts to realize that his outlook is wrong. “Scrooge hung his head to hear his own words quoted by the Spirit, and was overcome with penitence and grief.” This is the moment of self-reflection.

ACT 2 (cont’d): The Spirit takes Scrooge to various places where they see people of meager means celebrating the holiday. Eventually, they end up at the house of Scrooge’s nephew. Here the nephew, his wife, and their friends have a jolly celebration filled with food and games. Scrooge gets so wrapped up watching the games that he does not want to leave.

Eventually, Scrooge notices that the Spirit has grown quite old. He asks the Spirit if its life is very short and the Spirit replies that its life ends at midnight that same night.

PIVOT POINT 2: Before the spirit goes, Scrooge sees a claw-like hand emerge from beneath its robes and the Spirit unfolds its robe to reveal two children. The Spirit tells Scrooge:

This boy is Ignorance. This girl is Want. Beware them both and all of their degree, but most of all beware this boy, for on his brow I see that written which is Doom, unless the writing be erased.

Scrooge asks what can be done and again he hears his own words quoted back to him: “Are there no prisons?… Are there no workhouses?” This is the second pivot point. The external event is the appearance of Ignorance and Want, and the internal choice is Scrooge wanting there to be something that can be done..

Note that many modern adaptations (films, etc.) of A Christmas Carol omit this portion of the story, perhaps because it is the section that feels most on-the-nose and didactic. It is also, in some ways, the most visually disturbing part of the story and stands in direct contrast to the jolly, Christmas imagery in other parts of the novella. Interestingly enough, when adaptations omit this section, they are losing a crucial part of the story arc: the second pivot point.

ACT 3: As Scrooge looks around for the Ghost of Christmas Present, he sees that the Spirit has disappeared and in its place has appeared a silent, looming figure.

Ghost of Christmas Yet to Come: As with the other figures, this one takes Scrooge to various places where he sees shadows of the future. The first stop is a rundown shop where a few people are gathered. They are bringing in things to sell, items belonging to someone who has died. While we do not know the identity of the deceased (though, we can guess!), the purpose of this scene is to show how little these people seem to care about this man. They have even stolen his bedcurtains to sell!

At one point, Scrooge says to the Spirit: “Spirit!… I see, I see. The case of this unhappy man might be my own. My life tends that way, now. Merciful Heaven, what is this!” He has begun to realize that he needs to change his ways, though he has not yet made a full transformation. The scene changes and Scrooge and the Spirit are in a room where a dead man lies covered on a bed. This is the man whose belongings were being sold in the shop and he now lies alone in a room without friends or family to mourn him.

After these, the Spirit takes Scrooge to a home where a woman sits waiting anxiously for her husband by the fire. When he arrives, she asks him what the news is and he replies that the man to whom they owe a sizable sum is dead. (I wonder who that man might be…) While they do not necessarily celebrate the man’s death, they do go to sleep with peace of mind, knowing that their debt will likely be transferred to a more humane creditor.

Finally, the Spirit takes Scrooge back to the Cratchit home, where Tiny Tim has died and the family is in mourning. Unlike the mysterious deceased from the previous scenes who died with out anyone feeling sorry, this family is clearly grieving for its youngest member, in particular Bob Cratchit. This scene shows the immense impact that Tiny Time has made on his family and how much they love him and miss him. It is a stark contrast to the nameless deceased man from the earlier scene in the shop, where all people care about is how to dispose of his belongings.

CLIMAX: The Ghost of Christmas Yet to come takes Scrooge to one final location: a cemetery. The Spirit walks among the graves and points to one in particular. Scrooge approaches the gravestone and sees his own name carved into it. He is the deceased man whose belongings the people in the shop were selling. He is the man lying covered on the bed. He is the creditor whose death the young couple considers with relief. Scrooge finally understands what the Spirits have been trying to show him. He says:

“I will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach. Oh, tell me I may sponge away the writing on this stone!”

Ending Type: This is a “change of heart” ending. Scrooge starts out the story wanting to have nothing to do with Christmas. He despises other people and wants only to be left alone with his money. lBy the end of the story, he does not get what he wants, but he also no longer wants it. In the climax, he chooses to embrace Christmas and also to treat others with kindness and generosity.

DENOUEMENT: Scrooge finds himself in his room and runs to the window. He calls down to a boy in the street to ask what day it is and learns that it’s Christmas Day. The Spirits have done everything in one night and he has not missed Christmas. He asks the boy to run to the local poulterer and buy the biggest turkey, which he instructs should be sent to the Cratchit house.

Next, he dresses and heads out to his nephew’s home. On his way, he runs into the two gentlemen who had asked him to give money for the poor one day prior. He makes an apology and pledges a large sum of money for their cause. Finally, he arrives at his nephew’s house for Christmas dinner, where he enjoys all the games and joyfulness he had seen on his visit with the Spirit.

Finally, the next day, when Bob Cratchit arrives at work a few minutes late, he summons him to his room and announces that he will give him a raise. Then he tells Bob to get more coal for the fire. The story ends with the narrator telling us:

“…it was always said of him, that he knew how to keep Christmas well, if any man alive possessed the knowledge. May that be truly said of us, and all of us! And so, as Tiny Tim observed, God bless Us, Every One!”

I hope this holiday season brings you much joy and happiness, and that the new year gives you renewed energy and excitement for your writing. Remember: the world needs your stories, and there are readers out there waiting with bated breath for a book just like yours. 

Until next time, keep writing and keep being awesome!

P.S. For more info on Gabriela Pereira, the founder and instigator of DIY MFA, check out her profile page.

The post Writer Fuel: Three-Act Analysis of A Christmas Carol appeared first on DIY MFA.

If you need a quick review of the three-act structure, check out this article for an in-depth discussion of this framework.

Spoiler Alert! As with all our three-act analyses, I like to give a spoiler warning. This book in particular has a significant surprise at the end. If you’ve never read it before, you might want to do so before diving into this analysis because it will ruin the ending for you.

Okay, let’s do our analysis of The Great Gatsby.

ACT 1: The book starts with Nick Carraway telling us the story. He takes great pains from the outset to establish himself as an objective and truthful narrator. Nick moves to the fictional town of West Egg on Long Island, and spends time with Tom and Daisy Buchanan (who live on East Egg), as well as their friend Jordan Baker. At one point, Tom takes Nick to meet his mistress, Myrtle Wilson (wife of George Wilson), who lives in the valley of ashes between West Egg and the city.

Throughout the first act, Gatsby barely appears. In fact, it feels as though the story is really about Nick. Gatsby is mentioned several times, but we don’t actually meet him until the first pivot point. 

Character: We meet everyone but the protagonist. Nick is the narrator and we also meet Tom, Daisy, Jordan, Myrtle, and George (as well as several other minor characters) but Gatsby barely appears.

The only contact we have with Gatsby in Act 1 is at the end of Chapter 1, when Nick sees him walk out onto his dock to look at the green light on Daisy’s dock across the water. Aside from that one instance, Gatsby is only mentioned but never shows up on the page in Act 1.

Voice: This book is a classic example of the peripheral first-person point of view (POV), in that the character narrating the story is not, in fact, the protagonist. In this case, the protagonist is Gatsby, but Nick is the one telling the story.

I think Fitzgerald structured it using this POV for a few reasons. The peripheral POV gives us a “way in” with Gatsby. He’s not a particularly relatable (or even likeable) character, but Nick Carraway is. By putting the story in Nick’s POV, we can relate better to Gatsby.

Fitzgerald withholds Gatsby in Act 1 as a way to build up the mystique around his character and to create anticipation. If we were in Gatsby’s POV from the beginning, it would be hard to create that kind of mystery.

World: This story is set on Long Island and in New York City during the roaring twenties, with all the glitz and glamour that this time period entails. We have a subtle distinction between the two primary locations on Long Island: West Egg (“new money”) and East Egg (“old money”).

Social class is a big factor in this story. Tom comes from old money and Daisy is married into it. Gatsby is new money, and despite his attempts at extravagance, he never quite manages to belong. Nick is somewhat of an outsider. He comes from more humble origins (though still with a fair amount of privilege), allowing him to have a more outside perspective on the other characters.

Problem: The immediate problem is that Nick wants to make his way on the East Coast, having moved there from the Midwest. He’s trying to belong, much in the same way that we see Gatsby trying to belong later on.

Event: The story kicks off when Nick moves into the small rented house next door to Gatsby on West Egg.

PIVOT POINT 1:  Nick is invited to one of Gatsby’s fancy parties. While there, he speaks to an unassuming man who turns out to be Gatsby. The external event is Nick going to the party, while the internal choice is Gatsby deciding to reveal his identity.

Identity is an important element in this story. It’s interesting to note that until Gatsby reveals his identity, nobody knows that it’s him. His guests at the party have all sorts of theories about who he is, but no one really knows the true Gatsby. In fact, you could say that by the end of the story, Nick might be the only person who comes close to figuring out who Gatsby really is, and even then, Gatsby still remains something of a mystery.

ACT 2:  In Act 2, we move into the world of the extravagant Gatsby parties. Nick starts to put the pieces of Gatsby’s past together and Gatsby and Nick become friends. Throughout Act 2, we learn details of Gatsby’s past and slowly we are able to get a full picture.

Gatsby and Daisy have a past and once knew each other. He courted her before she was married to Tom, but he had no money, so when he left to go to the war, Daisy ended up marrying Tom instead. After the war, Gatsby did whatever he could to rise up in society, even some questionable business activities. Now that he’s living across the water from Daisy, all that he wants is to get her back.

W.O.R.S.T.: One of the best ways to understand the evolution of a story’s conflict is by examining the character’s desires and understanding their motivations. To do that, we use the acronym W.O.R.S.T. and ask the following questions:

• W = What does the character want?
• O = What obstacles are in their way?
• R = What are they willing to risk to get it?
• S = What’s at stake if they don’t get it?
• T = How do they transform in the process? 

Want: Gatsby wants to be with Daisy. He wants to reclaim what he had in the past, when he and Daisy were together.

Obstacle: When Gatsby went off to seek his fortune, Daisy decided to marry Tom. Now she’s married and has a young child.

Risk: Gatsby is willing to risk just about anything to get Daisy back. He does whatever it takes to make his fortune because he knows that money is a factor in wooing Daisy. He tries everything he can to fit in with the wealthy class of New York, even though he always remains something of an outsider. He even keeps a secret about Daisy at the end of the story (a secret that winds up costing him his life).

Stakes: If Gatsby can’t have Daisy, then everything he’s ever done in his whole life would have been for nothing. His entire adult life was motivated by this one desire: to be with her.

Transformation: This is where things get interesting. As a protagonist, Gatsby doesn’t really change on the page. Most of Gatsby’s change happens off the page, in parts of the story that happen before we meet him in Pivot Point 1. He changes his name, his identity, and his social status. He does all this in the effort to win Daisy.

While he changes almost everything about himself, in some ways, Gatsby’s entire mission in life is the antithesis of change. What he really wants is for everything to go back to how it was when he was with Daisy in the past. So, even though he has had to change himself in order to do it, what he really wants is the opposite of change: he wants to relive the past.

All of these above elements—want, obstacle, risk, stakes, and transformation—come into play as we learn more about Gatsby’s past in Act 2.

MIDPOINT: Gatsby wants Nick to invite Daisy over so he can happen to stop by at the same time and run into her. Nick invites Daisy for tea on a stormy afternoon. Gatsby stops by and, while at first things are awkward, eventually he and Daisy reconnect.

In fact, they hit it off so well that Gatsby offers to give Nick and Daisy a tour of his mansion next door. This moment is a Temporary Triumph for Gatsby because it feels like he might be on the road to winning Daisy back.

While at the end of the mansion tour, Gatsby brings Nick and Daisy into his bedroom and shows them his closet with shirts “piled like bricks in stacks a dozen high.” He begins flinging his shirts out of the cabinet. Suddenly, Daisy begins to cry.

“They’re such beautiful shirts,” she sobbed, her voice muffled in the thick folds. “It makes me sad because I’ve never seen such—such beautiful shirts before.” 

Of course, we know that she’s not really crying about the shirts. It’s what the shirts symbolize that makes her sad, because they are proof that Gatsby was able to make his way in the world and—had she only waited for him—maybe they could have been together.

This is the culmination of the Temporary Triumph because in this moment, it’s clear that Daisy still has feelings for Gatsby. Note that because we are in a peripheral first-person POV, we can’t really get a moment of self-reflection from Gatsby because we don’t have access to his thoughts..

ACT 2 CONT’D: Before we get to Pivot Point 2, we have one more significant sequence that helps to ramp up the story’s tension and propel us toward the climax. Tom, Daisy, Gatsby, Jordan, and Nick decide to go to the city. Tom wants to drive Gatsby’s ostentatious, yellow car, so he lets Gatsby and Daisy drive together in his blue coupe.

On the way into the city, Tom, Jordan, and Nick stop by Wilson’s garage in the valley of ashes and Tom learns that Wilson intends to move West with Myrtle. This information leaves him very upset.

The group meets up in the city and they head to the Plaza Hotel, where they take a suite and plan to drink mint juleps to cool off in the hot afternoon. Tom and Gatsby get into an argument over Daisy and eventually Gatsby says: “Your wife doesn’t love you… She’s never loved you. She loves me.”

Daisy admits that she would leave Tom. In response, Tom reveals some of Gatsby’s shady business dealings and Daisy loses her resolve. She and Gatsby get into his yellow car and head back out to Long Island. Tom, Jordan, and Nick follow in the coupe.

PIVOT POINT 2: When the coupe reaches the valley of ashes on the way back out to Long Island, Nick and his friends are met with a commotion. Myrtle Wilson has been the victim of a hit and run accident, and she has died. The car in question did not stop, but there are witnesses who say that it was yellow.

Back on Long Island, Nick confronts Gatsby about the accident and it turns out that Daisy was the one driving the car. Despite the severity of the consequences, Gatsby insists he will not reveal that Daisy was driving. In this pivot point, the external event is Myrtle getting killed, while the internal choice is Gatsby lying to protect Daisy.

ACT 3: Suddenly, we’re in the point of view of a man named Michaelis, who is a friend to George Wilson and is with George at the garage after Myrtle has died. The effect of this POV shift is that it seems as though we’re hearing this account third-hand (Michaelis telling Nick, who in turn tells us readers).

This POV shift is essential because as George begins putting together the truth about his wife’s affair, he wouldn’t be open with someone like Nick, who’s of a different social class and barely an acquaintance. We have to hear this part of the story through Michaelis, who is his friend and who he would trust enough to discuss this subject.

CRISIS: From here, the story picks up momentum. We learn that Wilson has figured out that his wife was having an affair, and he assumes the person driving the yellow car is his wife’s lover. He goes looking for the yellow car and winds up in West Egg. He learns that Gatsby has a yellow car so he goes to his house.

Meanwhile, Gatsby has decided to use the pool (which he has not used all summer). He lies on top of an inflatable mattress on the water.

CLIMAX: The butler hears shots fired. Gatsby and Wilson are both found dead.

Ending Type: This is an example of a tragic ending. The character (Gatsby) does not get what he wants (to win Daisy), but he still wants it, right up to the end.

DENOUEMENT: In the denouement, we see the aftermath of the shooting. Nick tries to contact Daisy and Tom, but they have gone away, leaving no forwarding address or any indication of when they might come back. Nick is left on his own to manage Gatsby’s funeral and he learns a few last pieces of information about his friend. The day of the funeral arrives. No one comes.

RULE OF 3:  There is one Rule of 3 that begins in Act 1 and ends in Act 3, and this is the eyes of Doctor T.J. Eckleburg. In the valley of ashes, right near Wilson’s garage, there is a billboard that shows a huge set of eyes. As Nick says:

“The eyes of Doctor T. J. Eckleburg are blue and gigantic—their retinas are one yard high. They look out of no face, but, instead, from a pair of enormous yellow spectacles which pass over a non-existent nose.”

These eyes come up three times in the story. They first appear in Act 1, when Tom takes Nick to Wilson’s garage to meet his mistress and they all go into the city together.

The second appearance of the eyes is when Tom, Jordan, and Nick stop by the garage on their way into the city, and Tom learns that Wilson wants to take his wife and move West. Nick notices the eyes just as he realizes Myrtle has been watching their conversation the whole time.

The third and final appearance of the eyes is when Wilson talks to Michaelis and reveals that he knows about his wife’s affair. Michaelis looks up and sees the eyes looming and Wilson says, “God sees everything.” This third instance is different because it is the moment where Fitzgerald connects the dots and makes it clear that the eyes in the billboard symbolize the eyes of God.

In this book, the characters are constantly trying to be something they’re not or do something they’re not supposed to do. Gatsby changes his identity and tries to become a new man. Daisy loves Gatsby, but doesn’t have the guts to leave her husband. Tom has a hidden affair with Myrtle. Even Nick tries to fit in with Tom, Daisy and their set, despite not being nearly as wealthy. Everyone is trying to pretend, but ultimately, nothing escapes those all-seeing eyes.

CONCLUSION: The Great Gatsby is an excellent example of the peripheral first-person POV. The trickiest thing about this technique is being able to show certain events that happen when the POV character (i.e., Nick) is not there. What Fitzgerald does is he uses subtle shifts in POV, where other characters recount their version of events to Nick, giving us (the readers) access to that information.

For example, in Chapter IV, Jordan tells Nick about Daisy’s past because she and Daisy grew up together. Later, in Chapters VI and VIII, we have passages where Gatsby tells Nick things about his life. And, of course, there’s that Michaelis section at the end of Chapter VIII where we jump completely from Nick to Michaelis’ POV and it’s barely implied that Nick is recounting that event to us (the readers) because he learned that information after the fact.

These point of view jumps may seem drastic, but they ramp up slowly. Each incidence of a shift in POV is a little more daring than the last, so that by the time we get to the Michaelis passage, we’ve learned to trust the narrator and we take that dramatic POV jump in stride. In this way, The Great Gatsby is an excellent study in first-person peripheral POV and how to build up to bigger, more dramatic POV shifts throughout the story.

Until next time, keep writing and keep being awesome!

P.S. For more info on Gabriela Pereira, the founder and instigator of DIY MFA, check out her profile page.

The post Writer Fuel: Three-Act Analysis of The Great Gatsby appeared first on DIY MFA.