Ontrast narrative elements in Speak and Inexcusable

Please produce a paper that contrasts the narrtive elements in Speak and Inexcusable. Papers should include the following:
a. an introduction that ends with a clear thesis statement
b. a series of three sections (not necessarily paragraphs--each section might need two paragraphs) that contrasts these two narratives using three different elements
c. a paragraph that considers which narrative approach would be best in the adolescent classroom (best is a relative term, so be sure to reveal the basis of your determination)
d. a concluding paragraph that nearly summarizes the whole
To achieve a strong essay, be sure to include these items and support your claims with specific examples from the text.
DUE DATE: Midnight, July 13

The only 2 sources I need are from the books Speak (Laurie Halse Anderson) and Inexusable (Chris Lynch).

The instructor talks about narrative. Here is the following info that she gave us on narrative:

Our second query continues to examine two terms essential to literary studies: a?narrativea? and a?narration.a? Neither term is particularly useful without some clarification. Much like the term a?literature,a? we may have some concept of what narrative or narration is, but not so much so that we can use them in any productive way. To tha end, we will use the next two novels in this class to explore these terms. Up first is Laurie Halse Andersonas Speak (1999). The second is Chris Lynchas Inexcusable (2007). Both novels deal with the sensitive subject of rape. The former explores the victimas perspective; the latter reverses things and enters the mind of the perpetrator. This document explores the shift between these two narrative perspectives in greater detail by investigating in some detail the concepts of a?narrativea? and a?narration.a?

A Discussion of a?Narrativea? (in contrast to a?Storya? or a?Plot Summarya?)
The basic definition of a?narrativea? is simply put the recounting of some event. The term doesnat necessarily refer to literary works. Commonplace types of retellings are a?narrativesa? as much as those retellings found in novels. Both have some story behind thema a linear seque3nce that can be related clearly and without prejudice; and, both have a plota the manipulated presentation of those elements. The difference can be found in the rules that govern the telling. We expect most people to present commonplace narratives in such a way that the a?trutha? of the story can be recognized. No tricks. We simply want to know the sequence of events and preferably in the sequence in which they occurred.

Literary narratives arenat like that. If a literary is too straight forward, in fact, we tend to reject it as boring. Furthermore, we tolerate if no expect some manipulation, exaggeration, or even suppression of key details to enhance the story. Narratologists refer to these tweaks as plot pieces, which is to say, recognized changes in how the story is related (story, here, refers not to the take, but to the events that occur before the telling). The basic plot pieces are as follows:
1. Exposition: the context of the actiona can be a person, place or occurrence or some combination of any of these if not all of these.
2. Rising Action: a description of the conflicts that will produce the crisisa again, can be a person, place or occurrence; can be internal or external; can be most anything.
3. Crisis: the decisive moment of the storya generally the moment where the conflicts collide or avoid collision.
4. Resolution: the aftermath following the crisisa traditionally this is the way in which the loose ends are resolved, but the resolution does not have to resolve the crisis.

These four elements, combined with other narrative pieces like characters (round, flat, foils), settings, attitudes (style and tone), of symbolic or allegoric meanings, all converge in a specific way to form the a?narrativea? of a given story. My hope in presenting all of this is that
a. you can read the two novels in this section thinking as much about what happens as how it happens or when we learn it happens, and
b. you can develop from your reading a description of the narrative, which would be different than a summary of the plot

Another interesting distinction to be made involves the temporal perspective of the narrator. Narrators can in in or out of the time of the story. Those in time, which is to say, those who tell the story as it happens, may not have a clear reason for the telling, and, by extension, might convey a number of attitudes toward the events or characters being described. They might even reverse course in the middle of telling. Think Jane Austenas Emma (1877). The titular characteras attitudes shift considerably during the course of that novel. Other narratives, like the one in Nathaniel Hawthorneas The Scarlet Letter (1850) are far removed from the action. They are out of time and as such they have a clearer purpose for telling the story they tell and rarely have the reversals found in the other type. These sorts of differences are likely to remain hidden unless we intentionally consider the temporal duration of a narrator. In the case of Speak and Inexcusable, these questions will be extremely important. Both of these narrators, different as they are on the surface, have had time to think about not only what has happened but how to represent its happening, and we would do well to recognize how that might shape what we see and donat see in the story.

That is not to say that all narrators out of time are created equal. Some out of time narrators have already discovered the self they want to project. Their story is something of a detached autobiography in that they tell the story they do as a way of tracing for the reader who it is they have become and how. Other out of time narrators are in the process of discovering that self, or in believing in it. Their story is much more subjective in that they make assumptions they assume we will make as well, and fight to have the reader reach the same conclusion using those assumptions that they want to reach. The key for us is to be able to distinguish these types of narrators from one another using terms such as detached or subjective, as well as the others we have discussed (reliable, unreliable; in time or out of time; etc.). Stated another way, the goal is to be able to add to our description of a narrator a full account of the narrative position of that character as well.