Such elements include the essential idea of narrative structure, with identifiable beginnings, middles and endings, or exposition-development-climax-resolution-denouement, normally constructed into coherent plot lines ; a strong focus on temporality, which includes retention of the past, attention to present action, and protention / future anticipation ; a substantial focus on characters and characterization which is " arguably the most important single component of the novel "; a given heterogloss of different voices dialogically at play – " the sound of the human voice, or many voices, speaking in a variety of accents, rhythms and registers "; possesses a narrator or narrator-like voice, which by definition " addresses " and " interacts with " reading audiences ( see Reader Response theory ); communicates with a Wayne Booth-esque rhetorical thrust, a dialectic process of interpretation, which is at times beneath the surface, conditioning a plotted narrative, and other at other times much more visible, " arguing " for and against various positions ; relies substantially on now-standard aesthetic figuration, particularly including the use of metaphor, metonymy, synecdoche and irony ( see Hayden White, Metahistory for expansion of this idea ); is often enmeshed in intertextuality, with copious connections, references, allusions, similarities, parallels, etc.

Such elements include the essential idea of narrative structure, with identifiable beginnings, middles and ends, or exposition-development-climax-denouement, with important inciting incidents, normally constructed into coherent plot lines ; a strong focus on temporality that includes retention of the past, attention to present action and protention / future anticipation ; a substantial focus on characters and characterization which is " arguably the most important single component of the novel " ( David Lodge The Art of Fiction 67 ); a given hetergloss of different voices dialogically at play, " the sound of the human voice, or many voices, speaking in a variety of accents, rhythms and registers " ( Lodge The Art of Fiction 97 ; see also the theory of Mikhail Bakhtin for expansion of this idea ); possesses a narrator or narrator-like voice, which by definition " addresses " and " interacts with " reading audiences ( see Reader Response theory ); communicates with a Wayne Booth-esque rhetorical thrust, a dialectic process of interpretation, which is at times beneath the surface, conditioning a plotted narrative, and other at other times much more visible, " arguing " for and against various positions ; relies substantially on now-standard aesthetic figuration, particularly including the use of metaphor, metonymy, synecdoche and irony ( see Hayden White, Metahistory for expansion of this idea ); is often enmeshed in intertextuality, with copious connections, references, allusions, similarities, parallels, etc.

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