How to write and read a Japanese-sounding text

The aim of this #writing post is to help you understand why reading and writing in Japanese poses some challenges. The main principles governing Japanese narratives are, as you will soon find out, vastly different from the principles ruling English narratives. Unfortunately, there aren't many sources on the topic, but I managed to collect some data to create a general overview.

My previous post on the Japanese writing style -> Link Click

The usefulness of writing in the language learning process -> Link Click

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Narrative Structures in English

This section is just a brief reminder. Most of us are vaguely familiar with modern English narrative structures; however, naming and pinpointing characteristic features of each narrative might be of use in understanding what sets them apart. The examples, hopefully, will reveal hidden patterns and lead to "aha" moments that might not be obvious when looking at those narratives in isolation.

There are several narrative structures that writers use to organize and present their stories or ideas so that we can enjoy a coherent and engaging narrative. Some common narrative structures in English include:

Linear narrative
Non-linear narrative
Epistolary narrative
Stream of Consciousness
Quest narrative

Linear narrative

We all learn the linear narrative in school because it follows a straightforward chronological order, starting from the beginning and progressing to the end of the story. It presents events in a sequence, allowing readers to follow the plot easily. Pride and Prejudice by Jane Austen is an excellent example of linear narrative, as there are no major flashbacks, the characters undergo gradual development, and the novel reaches a satisfying conclusion.

Linear narrative is applicable to academic writing as well. I'm sure you're familiar with the "introduction, body, and conclusion" division/outline which makes essays clear and logical. Each section contains specific information, and the points/ideas/information within those sections should also follow a pattern. It’s an easy-to-remember structure that helps the reader find the desired information faster.

For more information, go here -> Link Click
You can download this general essay outline by clicking on the picture and saving it.

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Non-linear narrative

In contrast to the linear narrative, the non-linear narrative presents events out of chronological order. It may include flashbacks, flash-forwards, or multiple timelines, creating a more complex and intriguing storytelling experience.

However, Japanese culture has a long history of embracing non-linear narratives as well. Works like traditional Noh theater, haiku poetry, and modern Japanese cinema often play with time, perspective, and symbolism in intricate ways.
Some examples from both cultures include:

Rashomon (1950)

Directed by Akira Kurosawa is a Japanese classic that presents different accounts of a crime from the perspective of multiple characters, each revealing their version of events. The film challenges the concept of objective truth and explores the subjectivity of perception. This approach towards storytelling is often referred to as the "Rashomon effect."

In essence, the Rashomon effect serves as a reminder that truth can be elusive, and what is often presented as a straightforward account of events may be subject to interpretation, manipulation, and individual perspectives.

Another great example from Japanese pop culture is a well-known anime, Attack on Titan. The manga created by Hajime Isayama and the anime series (seasons 1-3 animated by WIT studio; season 4 by studio MAPPA) employs a non-linear narrative structure, especially in its later seasons and chapters. While the early parts of the story follow a relatively straightforward chronological order, the narrative becomes increasingly complex as the series progresses. Elements of time travel, memories, and different perspectives are introduced, which disrupt the linear flow of the storyline.

Pulp Fiction (1994)

Directed by Quentin Tarantino, this American classic crime film intertwines multiple interconnected stories and characters in a non-linear sequence, challenging the traditional narrative structure.

How I Met Your Mother (2005 -2014)
The non-linear storytelling in How I Met Your Mother makes the story full of mysteries and surprises, as the show slowly reveals the identity of the Mother while exploring the characters' growth and development over time. It also adds layers of complexity to the show's humor, callbacks, and running gags. While How I Met Your Mother employs non-linear storytelling, it is still a relatively structured and comedic format compared to some of the more mind-bending examples mentioned earlier.

Epistolary Narrative

An epistolary narrative is told through a series of letters, diary entries, or other written documents. The story unfolds through the perspective of multiple characters, each writing from their unique point of view.

Frankenstein by Mary Shelley (1818)

This excellent example of Gothic fiction is structured as a series of letters and journal entries written by different characters, recounting the tragic tale of Victor Frankenstein and his creation.

Dracula by Bram Stoker (1897)

Another example of Gothic horror employing epistolary narration. The novel is composed of a collection of letters, journal entries, newspaper clippings, and ship logs, documenting the battle against Count Dracula and his dark powers.

Stream of Consciousness

Stream of consciousness is a narrative style that presents the flow of thoughts, feelings, and emotions of a character in an unbroken and uninterrupted manner. It mimics the natural thought processes of the character and can create a sense of intimacy with the reader.

Ulysses by James Joyce (1922)

One of the most famous examples of stream of consciousness. Ulysses follows the inner thoughts and experiences of several characters in Dublin over the course of a single day. Joyce's experimental prose style reflects the chaotic and complex nature of human consciousness.

For some examples and more on the topic -> Link Click

Quest narrative

A quest narrative revolves around a journey or mission undertaken by a protagonist to achieve a specific goal. Along the way, the protagonist encounters various challenges and learns valuable lessons. Most anime shows are good examples of quest narratives. My Hero Academia (Boku no Hero Academia) can be considered an example of a quest narrative or a hero's journey in some aspects.

The hero's journey is a common narrative structure that was identified by Joseph Campbell in his book The Hero with a Thousand Faces.

The Lord of the Rings by J.R.R. Tolkien (1954 - 1955)

This epic fantasy trilogy follows the quest of a group of diverse characters, including Frodo Baggins, who must destroy the One Ring in the fires of Mount Doom to save Middle-earth from the dark lord Sauron.

Narrative structures in Japanese

Ki-shoo-ten-ketsu (起承転結)

The "Ki-shoo-ten-ketsu" narrative structure is one of the most fundamental and traditional storytelling models in Japanese literature. You can also find it in theater, and even modern media like anime and manga. Each part of "Ki-shoo-ten-ketsu" represents a specific stage in the narrative:

Ki (起): The beginning or introduction.
Shoo (承): The development or continuation.
Ten (転): The twist or turning point.
Ketsu (結): The conclusion or resolution.

Simply put, a paper written according to the ki-shoo-ten-ketsu model would begin with a theme which is introduced in the "ki” phase and developed in the “shoo” phase; in the “ten” phase, though, a subtheme (or subthemes) is introduced, which is then developed throughout the remainder of the essay. This subtheme introduced in the “ten” phase of the essay often represents an “abrupt” intrusion of a second (or even a third) main idea for the paper, the “abruptness” here is the result of the lack of a foreshadowing in the introductory paragraph. As a result, the native English reader may be surprised and disoriented at suddenly confronting the new topic. (Bern Mulvey, 1992)

Your Name (君の名は) directed by Makoto Shinkai

This extremely popular anime film tells the story of two teenagers who mysteriously switch bodies across time and space. The introduction of the characters and their body-swapping phenomenon (Ki) leads to the development of their connection and attempts to meet in person (Shoo), The turning point of the story (Ten) is apparent in the comet hitting the city and the revelation of past events. In the resolution of the story (Ketsu) the main characters finally meet each other one more time.

Monogatari (物語)

Monogatari means 'story' in Japanese. It is a general term for all types of narratives or stories. The monogatari structure often follows a chronological order, starting with establishing the context, then introducing conflicts and developments, leading to a resolution or conclusion.

The key elements in this structure are as follows:

Koten (序点): The beginning or introduction, where the setting and characters are introduced. This section often includes descriptions of the time and place in which the story takes place.
Ki (起): The initial incident or problem that sets the story in motion. It introduces the conflict or dilemma that the protagonist faces.
Ten (転): The development or progression of the story. This section explores the actions and decisions of the characters as they attempt to resolve the conflict.
Ketsu (結): The conclusion or resolution of the story. It provides closure to the conflict and may contain a moral or lesson.

The structure of monogatari is not strictly linear and allows for various narrative techniques, such as flashbacks or multiple perspectives. Additionally, it often contains elements of poetic language and symbolism, contributing to the rich and artistic nature of the narrative.

Many classic Japanese literary works, such as "Genji Monogatari" (The Tale of Genji), "Heike Monogatari" (The Story of the Heike) and "Momotaro" (Peach Boy), are written in this traditional monogatari style. While modern Japanese literature has evolved with different writing styles, the influence of the monogatari format can still be seen in contemporary storytelling.

Jo-ha-kyu (序破急)

Jo-ha-kyu is a narrative concept that can be found in various Japanese traditional performing arts, including Noh theater, music, and literature. It involves three stages:

Jo (序): The slow and gentle introduction.
Ha (破): The development of tension and intensity.
Kyu (急): The rapid and powerful conclusion.

Jo-ha-kyu is not only used in traditional Japanese performing arts, but it has also influenced other art forms and aspects of Japanese culture. As a fundamental concept in various creative fields, it is valued for its ability to create a sense of harmony and emotional development in artistic expressions.

Danraku (段落)

Danraku refers to the paragraph structure used in Japanese writing. Each danraku typically consists of a main idea or topic followed by supporting details, examples, or explanations. This structure helps create a clear and organized flow within the narrative.

In more modern Japanese storytelling, danraku is still a fundamental element, although modern literature may use other narrative techniques. However, the concept of dividing the narrative into separate units to enhance readability and storytelling remains an important aspect of Japanese literary tradition.

Tempura strategy

Each letter of the word tempura represents a specific component that contributes to the creation of a coherent and organized text. Tempura strategy is primarily taught in Japanese schools to help students effectively develop writing skills. Here's what each letter means:

Te (手) means "hand" in Japanese and represents the introduction. It is the opening part of the composition where the writer grabs the reader's attention and provides background information or context for the topic at hand.
M (目) stands for "me," which means "eye" in Japanese. It represents the main body of the composition. In this section, the writer presents the core arguments, explanations, and examples that support the main idea.
Pu (風) refers to "fū" or "fūten" (風点) in Japanese, which means "wind" or "wind-up." This section is the turning point of the composition, where the writer introduces a counterargument or presents a different perspective to provide balance or contrast to the main arguments.
Ra (羅) represents the conclusion of the composition. It is the closing part where the writer summarizes the main points and reinforces the thesis.

Tempura narrative structure may resemble the typical English linear narrative; however, as Bern Mulvey states, the core difference is in the introductory paragraph - there's no strong and clear thesis statement, for example: In this article, I'll prove that XYZ is wrong.

[...] this rhetorical format lacks an introductory paragraph placed in the beginning to orient the reader. [...] Instead of introductory paragraphs with thesis statements, readers are presented with a series of examples or details, seemingly unfocused, which nevertheless stand in an inductive: relationship to each other which is made obvious in the final paragraph(s). [...] Without introductory orienting statements, English readers have difficulty both identifying and anticipating the movement in the essay (Hinds 1990: 91). Such structuring often forces readers to reread the paper with a whole new perspective. It’s mostly seen in Japanese newspaper articles. (Bern Mulvey, 1992)

Cultural differences

Disclaimar* These are my general observations. I consulted them with my Japanese teacher, friends, and people interested in Japan.

Japanese narrative strategies are writer-friendly rather than reader-friendly. Therefore, the responsibility for understanding the overall message is shifted to the reader. English narratives, on the other hand, focus on the readers. The main aim is to convey information in an easy-to-understand way.

English texts focus more on action and external events at a faster pace while Japanese narratives are more contemplative, with long-winded descriptions of nature or emotions. Of course, you will see short stories that cut to the chase immediately. The world is changing and so are the tendencies in Japanese literature.

Japanese narratives emphasize emotional aspects and epiphanies, while English narratives may focus more on resolving external conflicts giving the plot closure. I don't remember where I've seen the quote or who said it, but this difference can be summarized as follows: "A Westerner goes to space and tries to conquer it. An Easterner goes to space and tries to explore it."

Symbolism and metaphors play a crucial role in Japanese works. Japanese writers frequently employ symbolism and metaphor to convey complex ideas and emotions. This allows for layered interpretations and encourages the audience to engage deeply with the content.

Japanese dialogs contain many indirect statements and are more implicit, leaving unspoken things to be inferred by the reader from contextual cues. English dialogs are more explicit and direct, with more emphasis on direct communication.

These differences mainly stem from the fact that the Japanese culture is a high-context culture, where ''reading the room" matters a lot. The English culture is a low-context culture, where contextual cues are few and the language itself allows speakers to be direct and explicit.

Take-aways

Disclaimar* Keep in mind that these are general and flexible conclusions.

English narratives prefer a clear text organization, where each paragraph discusses one idea only. That idea is usually introduced in a sentence that is called a "topic sentence." It is usually the first sentence of a paragraph. The following sentences serve as examples that reinforce or further explain the idea contained in the topic sentence.

Japanese narratives, on the other hand, tend to introduce more than one idea in a single paragraph. Those ideas may or may not be supported by examples. From my experience, topic sentences are rarely found in Japanese texts.

Since English narratives are reader-oriented, writers may use less sophisticated vocabulary.

Japanese writers tend to focus on descriptions, which, in turn, may lead to flowery language and phrases that aren't commonly used in day-to-day language.

English narratives are usually action-oriented. Characters usually face challenges on their way to achieving the goal - the solution to the problem is usually at the very beginning. It can refer to beating the villain who wants to destroy the world or an average individual who wants their dreams to come true.

Japanese narratives can also be action-oriented (for example, many current animes and mangas follow this trend); however, the contemplative nature of the Japanese culture and rich religious background shifts the focus to less clear actions and goals and gives readers some room to apply their own interpretations.

Sources

https://scholarworks.lib.csusb.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=2052&context=etd-project
https://www.tofugu.com/japanese/japanese-argument-structure
http://www.wichert.org/icrhetja.htm
https://theatrenohgaku.wordpress.com/2012/08/10/jo-ha-kyu-%E5%BA%8F%E7%A0%B4%E6%80%A5/
https://tvtropes.org/pmwiki/pmwiki.php/Main/Kishotenketsu