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{{Short description|Misplaced Pages project page}}
{{style-guideline|]}}
{{MoS guideline|MOS:WAF|WP:WAF|sortkey=Fiction}}
{{nutshell|Misplaced Pages articles should describe fiction and fictional elements from the perspective of the real world, not from the perspective of the fiction itself.}}
{{nutshell|Misplaced Pages articles should describe fiction and fictional elements from the perspective of the real world, not from the perspective of the fiction itself. Jump to {{slink||Conclusions}} for a more detailed summary of this guideline's contents.}}

Misplaced Pages contains numerous articles on ] and elements from them. Like with all Misplaced Pages articles, a fictional topic's ''']''' has to be established by and including reliable secondary sources. Once this is done, the approach to writing about these subjects is the most important consideration to make. Articles dealing with fictional subjects, characters, objects, events, or locations should discuss their authorship and their significance outside the narrative.
{{Style}} {{Style}}
Misplaced Pages contains numerous articles on '''subjects related to fiction''', including ] and elements therein. When creating these articles, editors should establish the subject's real-world ] by including several ], ] ] sources. This approach will also ensure enough source material is available to write a balanced article that is more than ], meeting the policy on ].


Once an article about fiction or a fictional subject meets basic policies and guidelines, editors should consider: (a) ''what'' to write about the subject, and (b) ''how'' to best present that information. These questions are complementary and should be addressed simultaneously to create a well-written article or ].
== Real world perspective ==
Articles about fiction, like all Misplaced Pages articles, must be written with the ] as their primary ]. The approach is to describe the subject matter from the ''perspective of the real world'', in which the work of fiction and its publication are embedded. It necessitates the use of both ] '''and''' ].


Exemplary aspects of real world perspective include: == Real-world perspective ==
{{shortcut|MOS:REALWORLD|MOS:FICTIONAL}}
Articles about fiction, like all Misplaced Pages articles, should use the ] as their primary ]. As such, the subject should be described from the ''perspective of the real world''. To achieve this, editors must use both ] '''and''' ].


Important aspects of real-world perspective include:
* careful ''differentiation'' between the work of fiction itself and aspects of its '']'' and '']'', such as the ''impact'' a work of fiction has had in the real world (see also ])

* the ''presentation'' of fictional material
* Careful differentiation between the work itself and aspects of its '']'' and '']'', such as the ''impact'' it has had in the real world (see also ])
** particularly for film and TV related topics, this may include '']'' aspects
* Careful differentiation between ''narrated'' time and fictional chronology on the one hand, and ''narrative'' time and actual chronology of real-world events on the other (of particular relevance to all film and TV-related topics)
* The ''presentation'' of fictional material
** particularly for film and TV-related topics, this may include '']'' aspects
** for literature, this may include '']'' and '']'' ** for literature, this may include '']'' and '']''
* description of fictional characters, places and devices as ''objects of the ]'' * Description of fictional characters, places and devices as ''objects of the ]''
* Mentioning the creator
* making (referenced!) mention of the author's ''intention''

See below for a list of ''']''' which employ a consistent real world perspective.


=== The problem with in-universe perspective === === The problem with in-universe perspective ===
{{shortcut|MOS:INUNIVERSE|MOS:OUTUNIVERSE|MOS:IN-U|WP:UNIVERSE}}
The in-universe perspective describes the fiction from the perspective of characters within the ], treating it as if it were real. Many fan wikis and fan websites (see ]) take this approach, but it should not be used for Misplaced Pages articles. An in-universe perspective is inaccurate and misleading, gives ] to unimportant information and invites ] ]. See also the sections on ], ], and ].
An ''in-universe perspective'' describes the narrative (or a ''fictional element'' of the narrative, such as characters, places, groups, and lore) from the vantage of characters within the ], treating it as if it were real and ignoring ]. Many fan wikis and fan websites (see ]) take this approach, but it should not be used for Misplaced Pages articles. An in-universe perspective can be misleading to the reader, who may have trouble differentiating between fact and fiction within the article. Furthermore, articles with an in-universe perspective are more likely to include ] ] due to reliance on the primary source. Most importantly, in-universe perspective defies community consensus as to ].


Problems associated with an in-universe perspective include: Features often seen in an inappropriate, in-universe perspective include:


* Disregarding all or most aspects of a work of ] as a creative endeavour. * Describing aspects of the work as if they were real.
* ] (except ]), rather than the ] tense.
* A plot synopsis written like an ].
* Presenting backstories of fictional elements as real-world historical accounts. For example, an in-universe perspective might describe the history of ] from the '']'' franchise in a manner similar to that of the ], giving extensive detail to topics such as creation, fleet composition, battles, and key events. Instead, descriptions of Starfleet should cover only the most essential details and mention the specific works (TV episodes, films, books, etc.) in which these details were included.
* A fictional character article or section written like a ].
* ]&nbsp;– a character description that is written like a biography, placing ] on fictional traits (titles, birthdates, etc.) that are unimportant to the plot or its interpretation. For example, instead of introducing the character as "] was a powerful wizard", write "Gandalf is characterised as a powerful wizard", or "Gandalf is a wizard who appears within the works of ]".
* Description of fictional places written like a ].
* Labeling fictional characters with descriptors such as "deceased" or "formerly" (see also ]).
* Using ] intended for real world topics.
* Attempting to reconcile ] in the narrative, rather than simply reporting them as such.
* Discussing a fictional topic's appearances in major works and obscure ] material in equal detail.
* Giving undue weight to a fictional topic's appearances in obscure ] material.
* Using throwaway comments or jokes as a source of information.
* Placing ]s in the same ] as the works that inspired them.
* Trying to reconcile contradictions or fill gaps in a fictional continuity, rather than reporting them as such.
* Using ]s and references that require knowledge of a work's plot, its fictional elements, or related works.
* Placing ]s in the same continuity as the works that inspired them.
* In the plot summary, giving undue weight to a work's most memorable scenes or lines in relation to their importance to the rest of the plot. Elements that have entered popular culture should be covered in a "Reception" or "Legacy" section. Example: '']'' has jokes and phrases that have entered popular parlance but have little effect on the story's actual progression; however, the murder of the historian in one scene is a sight gag that {{em|is}} actually plot-relevant and should be described briefly.
* Using ] intended for real-world topics.
* Referring to the fictional events or dates that occur in the story, rather than the fictional works themselves. For example, instead of writing "{{!xt|It is the year 34,500 AD, when the ] encompasses roughly half the galaxy}}", write "{{xt|'']'' is set in 34,500 AD, when the Trantorian Empire encompasses roughly half the galaxy"}}, or similar.
* Making connections to real-world people, places, or events that are not clearly established by the work. Editors can include material about historical events and figures when writing about ] (e.g., how the fiction diverges from recorded history), but they should not assume connections for ]. For example, the 1988 film '']'' takes place in Neo-Tokyo on the eve of the 2020 Olympics. By happenstance, the real-world Tokyo hosted the ]; do not conflate or compare the fictional event of the film with the actual event. However, when a prediction has received coverage in reliable sources or entered the popular culture, it may be discussed in a separate section from the plot. For example, the predictions made about the year 2015 in '']'', cited to secondary reliable sources, can be discussed in a designated section.
* Ordering works by their fictional chronology, rather than the actual order in which they were published. Articles should give precedence to a clear real-world chronology, while the in-universe order of events can be summarized in a prose plot summary. For example, although the story of '']'' is a ] that represents the beginning of the '']'' narrative, it should be defined by release order because it was the fourth film released in the series.


These restrictions also apply to serious satire such as '']'', '']'', and many stage plays, in which the fictional elements camouflage the political or social criticism within the work. In such cases, it is legitimate to use ] to examine the fictional elements and the design of the storyline when such sources attempt to decipher the author's original intent. Also, exemptions might apply to other special forms of literature in which the fiction/non-fiction categorization is disputed, such as the possibly historical elements of ].
== Primary and secondary information ==
Where the ] discusses the principal ''perspective'' from which an article is written and makes the distinction between ''real world perspective'' versus ''"in-universe" perspective'', this section discusses the ''incorporation of information''. Please see also the related ].


=== Primary information === == Sources of information ==
{{anchor|Primary and secondary information}}
The term ''primary information'' describes all information taken from ]s, i.e. the original work of fiction or an affiliated work of fiction (e.g. another episode of the same series). Even with strict adherence to the real world perspective, writing about fiction always includes using the original fiction itself as a source. See also the sections on ] and ].
{{shortcut|MOS:PASI}}
{{see also|Misplaced Pages:No original research#Primary, secondary and tertiary sources}}
This section deals with the ''incorporation of information'' in articles about fiction, specifically in regard to primary and secondary sources.


=== Primary ===
Examples of information available in primary sources include:
{{shortcut|MOS:BOOKPLOT|MOS:FICTIONPLOT|WP:BOOKPLOT}}
In an article about fiction, the fiction itself is the main ]. Even articles with the strictest adherence to a real-world perspective still source the original work. According to the policy {{section link|WP:No original research#Primary, secondary, and tertiary sources}}, "A primary source may be used on Misplaced Pages only to make straightforward, descriptive '''statements of facts''' that can be '''verified by any educated person with access''' to the primary source but without further, specialized knowledge. ... {{strong|Do not}} analyze, evaluate, interpret, or synthesize material found in a primary source yourself; instead, refer to reliable secondary sources that do so."


Examples of information in primary sources include:
* the author or creator
* the birth and death dates of fictional characters
* performance statistics or characteristics for fictional vehicles or devices
* history of fictional locations or organizations
* background information on fictional creatures
* and, of course, the plot itself


* the birth and death dates of fictional characters;
=== Secondary information ===
* performance statistics or characteristics for fictional vehicles or devices;
The term ''secondary information'' describes information taken from ]s. Please note that publications affiliated with a particular work of fiction (e.g. fan magazines), are mostly ''not'' considered suitable secondary sources.
* history of fictional locations or organizations;
* background information on fictional creatures; and
* the plot itself.


=== Secondary ===
The ] is to use ''as much secondary information as ] and ]'' to give the article a real world perspective, ''']''' and ''']'''. Another rule of thumb is that if the topic is ], secondary information should be available and possibly already in the article.
''Secondary information'' is external to the fictional universe; it is usually taken from ]s about the work or the ], or from primary and secondary sources about the author and the creation of the work. Publications affiliated with a particular work (such as fan magazines) are mostly ''not'' considered suitable secondary sources about the primary works. However, such publications may be suitable primary or secondary sources in an article about the fan publication itself or other related topics.


The rule of thumb is to use as much secondary information as ] and ] to cover the topic's major facts and details from a real-world perspective – ] and ]. Another rule of thumb is that if the topic is ], secondary information should be available and possibly already in the article.
Examples of ] information typically provided only by secondary sources:


Examples of ] information typically provided by secondary sources about the original work, or primary and secondary sources about information related to the work, include the:
* the design

* the development, both before its first appearance and over the course of the narrative
* author, creator, or other key figures in the creation process (e.g., the cinematographer for films);
* real-world factors that have influenced the work or fictional element
* production company and/or publishing house;
* for a fictional character in a dramatic production, the actor who portrayed the role and their approach to playing that character
* design and development (at all stages of the work's creation);
* foreign translations
* real-world factors that influenced the work (or an aspect thereof);
* its popularity among the public
* actors who portrayed a character (and their approach to the depiction);
* its sales figures (for commercial offerings)
* noteworthy foreign translations;
* its reception by critics
* sales figures (for commercial offerings);
* a critical analysis of the subject
* reception by critics and the public;
* the influence of the work on later creators and their projects
* critical analysis, including discussion of themes, style, motifs, and genre; and
* influence on later creators and their projects.


== Contextual presentation == == Contextual presentation ==
{{shortcut|MOS:PLOT}}
As with the frame of reference, there are two generally possible approaches to be considered: The ''context of the production'' and the ''context of the original fiction'': Whenever the original fiction itself, and not e.g. a ], is the subject of the article, all out-of-universe information needs to be set in the context of the original fiction.


An article about a fictional work should include a plot summary. Character descriptions or direct quotations could also be helpful in some cases. By convention, the summary should be written in the continuous present tense, also known as the ], as this is how a reader, listener, or viewer experiences the story (see also ]).
Details of creation, development, etc. relating to a particular fictional element are more helpful if the reader understands the role of that element in the story. This often involves using the fiction to give plot summaries, character descriptions or biographies, or direct quotations. By convention, these synopses should be written in the present tense, as this is the way that the story is experienced as it is read or viewed. At any particular point in the story there is a 'past' and a 'future', but whether something is 'past' or 'future' changes as the story progresses. It is simplest to recount the entire description as continuous 'present'.


Plot summaries and character descriptions should be written in an out-of-universe style, presenting the narrative from an external real-world frame of reference from the characters or setting. For example, instead of starting a plot summary with "It is 2003", which puts the reader in the frame of reference of the work, start with "In 2003," which extracts the reader from that frame.
Using fictional material from the original work is fine, provided passages are short, are given the proper context, and do not constitute the main portion of the article. If such passages stray into the realm of interpretation, secondary sources must be provided to avoid ].


Plot summaries should be written as prose, not as lists or timelines. For some types of media, associated guidelines may offer advice on plot length; for example, {{slink|WP:Manual of Style/Film|Plot}} and {{slink|WP:Manual of Style/Novels|Plot}} say that plot summaries for feature films or full length novels should be between 400 and 700 words.
=== Plot summaries ===
Plot summaries can be written from the real world perspective by referring to specific works or parts of works ("In the first book", "In Act II") or describing things from the author or creator's perspective ("The author introduces", "The story describes"). This gives the summary a more grounded tone and makes it more accessible to those unfamiliar with the source material. This style of writing should be preferred for plot summaries that encompass multiple works, such as a series of novels. Such conventions are not as important for plot summaries of single works, such as novels that are not part of a series; nevertheless, some real-world language at the beginning of such summaries is often good style.


Misplaced Pages articles normally include plot spoilers, as explained in the ]. A plot summary should cover the complete story, including all major plot points, significant ], and the ending. Avoid using "teaser-style" descriptions designed to withhold key encyclopedic details, for example "In the end the family makes a shocking discovery…". Omitting or concealing plot elements due to concerns about spoilers is not acceptable. Spoiler warnings are never used on Misplaced Pages, for the reasons set out in the ].
== Notability and due weight ==
{{main|Misplaced Pages:Notability (fiction)|WP:NPOV#Undue weight}}


Do not create articles ]. Sourced external context should always be presented, covering the development, design, reception, significance or influence of the work.
There are specific ] prerequisites to be met by fictional subjects to warrant articles specifically about them. As mentioned ], the rule of thumb is that if the topic is sufficiently notable, ] should be available.


===Plot summaries of individual works===
Moreover, it is important that articles give ] to all aspects of the subject, and to avoid placing undue emphasis on minor points. This concerns all elements of the article page, including ] as well as images and of course all of the text.
In articles on individual works, the plot summary usually appears in a section labeled "Plot", "Story", or "Synopsis". This heading implicitly informs the reader that the text within it describes the fiction. It is thus usually not necessary for a plot summary to include explicit out-of-universe language, though care should be taken to ]. Subheadings based on natural divisions in the plot, such as the acts of a play or musical, can be used to provide real-world framing.


In a Misplaced Pages article on a work of fiction, the work itself serves as a primary source for a written description of the plot. Thus, a basic plot summary, without interpretation or explanation, does not normally require a reference to any outside source. References may be required in non-linear works such as video games and interactive films, where key elements of the plot may not be seen by the viewer due to how they interact with the work. For example, some of the core backstory to the video game '']'' is provided by optional audio logs, so Misplaced Pages's plot summary references these when they are relevant.
== Fair use ==


Works that incorporate non-linear storytelling elements, such as ] ('']'') or '']'' ('']'') presentation, or other narrative framing devices such as breaking the ] ('']'') or inclusion of ] ('']''), may require inclusion of out-of-universe language to describe how the work is presented to the reader or viewer. For example, a summary of ''Citizen Kane'' should establish that much of the film is an extended flashback that is bookended by scenes in the film's present; the entire plot summary should still be written in narrative present tense. Summaries may depart from the fiction's chronological order if doing so enhances clarity or brevity. A work with two concurrent, interchanging storylines is likely better told by summarizing one storyline in full, followed by the second storyline. If the narrative device is a significant feature of the work, such as with the films '']'' and '']'', then this structure should be explained to the reader.
As the Misplaced Pages servers are located in the U.S. state of Florida, Misplaced Pages articles must conform to U.S. copyright laws. It has been held in a number of court cases that any work which re-tells original ideas from a fictional source, in sufficient quantity without adding information about that work, or in some way analysing and explaining it, may be construed as a ] or a copyright violation. This may apply irrespective of the way information is presented, in or out of universe, or in some entirely different form such as a quizbook or "encyclopedia galactica".

The plot summary should normally set out the basic plot without any attempt to interpret or explain the creator's intent or meaning. Where a plot point is unclear or ambiguous, for example as a result of an ] or storytelling technique, out-of-universe language can be used to describe (but not to interpret) the way in which events are presented. Discussion, interpretation and explanation of the plot requires the citation of external reliable sources, and is generally best included elsewhere in the article.

===Plot summaries of serial works===
A plot summary for a series might broadly describe the overall series storyline, related events in different works, or the life of a fictional character over multiple works. Section headers can delineate individual works in the series.

=== Spinout articles ===
When an article gets ], a section is sometimes developed into its own article, and the handling of the subject in the main article is condensed to a ]. The new article is sometimes called a "spinoff" or "spinout" of the main article. For fiction, such spinout articles are typically about characters or other elements that appear in multiple works. There may be a ] of characters. If one individual character or plot item is sufficiently notable, it could have its own article. Such an article should make clear that the subject is part of the fictional world in question; characters should not be presented as if they are real persons, fictional settings should not be treated as real places, and so forth. Section labels such as "Fictional description" or "Appearances" can help to maintain a real-world perspective. Appropriate real-world information should also be included.

Even in a spinout article, ] should be avoided. As with all Misplaced Pages articles, the spinout needs to be ], must possess ], and must reflect a ].

===Sourcing and quotations===
{{shortcut|WP:PLOTREF|MOS:PLOTSOURCE}}
{{further|WP:PLOTCITE}}
The plot summary for a work, on a page about that work, does not need to be sourced with inline citations, as it is generally assumed that the work itself is the primary source for the plot summary. However, if the summary includes a direct quote from the work, this must be cited using inline citations so that readers can easily ]. Brief citations from the primary work can also be helpful (but are not required) to source key or complex plot points. If all or most of the summary has been derived not from the work itself but from a comprehensive plot summary in a reliable secondary source, citing that source is recommended as a convenience to readers.

===Analysis and interpretation===
Plot summaries that rely on the work as a primary source should provide a straightforward account of the plot, free from interpretation. For example, a summary of '']'' should not speculate on whether the spinning top remains upright or falls at the end of the film. Any interpretive content should be placed in a separate analysis section and supported by secondary sources, in accordance with the ]. Information drawn directly from a work as a primary source should represent how the work is presented to a typical reader or viewer, avoiding reliance on details that demand a meticulous word-by-word or frame-by-frame analysis beyond the standard experience of reading or watching.

In many visual works, viewers with relevant local or specialist knowledge may easily identify real-world locations, objects, or brands. However, such details should not be included in the plot summary unless they are explicitly referenced within the work and are directly relevant to the narrative. For instance, the ] in ] is explicitly identified in the film and is central to the story, making its inclusion in the summary appropriate. By contrast, while the setting of ] can be recognised as Los Angeles through visible landmarks, the city should not be mentioned in the summary since the film does not explicitly name it and its specific features are not central to the story. If such details hold real-life significance and are supported by a secondary source, they may be included in a separate section, such as one addressing filming locations or behind-the-scenes matters.

== Notability ==
Generally speaking, a fictional topic that does not meet the ] should not have its own article on Misplaced Pages. However, a collection of fictional topics, such as a setting or cast of characters, may be more notable as a whole. As mentioned ], the rule of thumb is that if the topic is sufficiently notable, ] will be available and will ideally be included upon article creation, to show that the article should exist.

== Accuracy and appropriate weight ==
Articles must be written from a ] and must give due weight to all aspects of the subject. Editors should also give appropriate weight to all elements of the article (e.g., images and text, as well as ]). The goal is to attain the greatest possible degree of accuracy in covering the topic at hand, which is also the basic rationale behind discouraging ] and in-universe writing.<!--kinda vague-->

== Fair use ==
{{shortcut|MOS:FAIR USE}}
As the Wikimedia Foundation is based in the United States, Misplaced Pages articles ]. It has been held in a number of court cases that any work which re-tells original ideas from a fictional source, in sufficient quantity without adding information about that work, or in some way analysing and explaining it, may be construed as a ] or a copyright violation. This may apply irrespective of the way information is presented, in or out of the respective fictional universe, or in some entirely different form such as a quizbook or "encyclopedia galactica".


Information about copyrighted fictional worlds and plots of works of fiction can be provided only under a claim of ], and ] holds that "the amount of copyrighted work used should be as little as possible". Many works of fiction covered by Misplaced Pages are protected by copyright. Some works are sufficiently old that their copyright has expired, or the rights may have been released into the ]. Information from copyrighted fiction can be provided only under ], and ] requires {{strong|minimal extent of use}}. Many works of fiction covered by Misplaced Pages are protected by copyright. Some works are sufficiently old that their copyright has expired, or the rights may have been released in some way, such as under the ] license, or into the ]. In these cases, the works themselves may be hosted at a Wikimedia project like ], but the Misplaced Pages should still cover the work tersely.


== Conclusions == == Conclusions ==
When writing about fiction, keep the following in mind: When writing about fiction, keep the following in mind.
* The principal frame of reference is always the real world, in which both the work of fiction and its publication are embedded: '''write from a real world perspective'''; * '''Write from a real-world perspective''': the principal frame of reference is always the real world, not a fictional world in which the story occurs.
* Both primary and secondary information are necessary for a real world perspective: '''maintain a balanced use of both primary and secondary sources'''; * '''Use a balance of primary and secondary sources''': both are necessary for a real-world perspective.
* Unpublished personal observation and interpretation of the article's subject and primary sources are ] on Misplaced Pages: '''avoid original research'''; * '''Avoid original research''': unpublished personal observation and interpretation are ] on Misplaced Pages.
* All included information needs to be ] to ], and all sources (including the primary sources) need to be appropriately ] in the article: '''reference all information and cite your sources'''; * '''Reference all information and cite your sources''': information needs to be ]. Sources must be appropriately ] in the article.
* All relevant aspects must be given ] in all elements of the article page, including text, images, elements of layout and even the article title: '''give weight where weight is due'''; * '''Maintain balanced coverage''': all relevant aspects must be given ] in all elements of the article, including text, images, layout, and even the article title. Avoid lists of fictional events or ]. Instead, incorporate relevant information into the article as prose, and discard information that is either redundant or unnecessary to understanding that topic. If a fictional topic is ], then it probably should not have its own article.
* '''Put all content in the correct context''': readability and comprehensibility are key, and the reader should always be able to differentiate between real world and fictional content.
* Readability and comprehensibility: '''put all information in the context of the original fiction''';
* '''Use copyrighted work sparingly''': check ] before adding images to any article. Ensure the article complies with ].
* ]: '''the amount of copyrighted work used should be as little as possible'''.


== List of exemplary articles == == List of exemplary articles ==
{{See also|Category:FA-Class novel articles|Category:FA-Class Fantasy fiction articles|Category:FA-Class Comics articles|Category:FA-Class science fiction articles|Category:FA-Class video game articles}}
Here are examples of fiction-related articles that, at last check, followed the ]. This is a brief selection; for other equally exceptional examples, see the lists of articles that have been rated at ] and ] status.


List of articles {{As of|2024|12|17|lc=y}}:
The following is a partial list of articles about fiction or elements from fiction that follow the ]. These are good examples to follow for editors seeking to cover fictional subjects on Misplaced Pages. For other good examples, see the lists of articles that have been rated at ] and ] status.


{{col-begin}}
: ''Note: Keep in mind that the content in these articles may have changed since the time of their original listing here.''
{{col-break}}
===Complete works===


====Novels====
<!-- change these wikilinks to link to specific revisions instead -->
* '']'' {{Class/icon|FA}}
;Characters
* '']'' {{Class/icon|FA}}
* ] (comic book character)
* ] {{Class/icon|FA}}
* ] (an article covering the characters of the game, as well as their creation)
* '']'' {{Class/icon|FA}}
* ] (classic cartoon character)
* ], ], and ] ('']'' characters)
* ] ('']'' character)
* ]


====Films====
;Complete works (films, television series, novels, video games, etc.)
* '']'' (comic book series) * '']'' {{Class/icon|FA}}
* ] {{Class/icon|FA}}
* '']'' (video game)
* ] {{Class/icon|FA}}
* ]
* '']'' (television series)
* '']'' (comic strip)
* '']'' (science fiction novels)
* '']'' (fantasy novel)
* '']'' (] science fiction parody ])
* ] (horror film)


====Television series====
;Miscellaneous
* '']'' {{Class/icon|FA}}
* ] (fictional food)
* '']'' {{Class/icon|FA}}
* ] (fictional ethics)

* ] (fictional world)
====Television episodes====
* ] {{Class/icon|FA}}
* "]" {{Class/icon|FA}}
* ] {{Class/icon|FA}}
* "]" {{Class/icon|FA}}
* "]" {{Class/icon|FA}}

====Comics====
* '']'' {{Class/icon|FA}}
* '']'' {{Class/icon|FA}}
* "]" {{Class/icon|FA}}
* '']'' {{Class/icon|FA}}
* '']'' {{Class/icon|FA}}

====Video games====
* '']'' {{Class/icon|FA}}
* '']'' {{Class/icon|FA}}
* '']'' {{Class/icon|FA}}
* '']'' {{Class/icon|FA}}

====Miscellaneous====
* "]" {{Class/icon|FA}}

{{col-break|gap=2em}}
===Characters===
====Cartoons====
* ] {{Class/icon|FA}}
* ] {{Class/icon|FA}}

====Video games====
* ] {{Class/icon|FA}}
* ] {{Class/icon|FA}}
* ] {{Class/icon|FA}}

{{col-break|gap=2em}}

===Elements of fictional works===
* ] (''The Office'' company) {{Class/icon|GA}}
* ] (''Halo'' species) {{Class/icon|FA}}
* ] {{Class/icon|GA}}
{{col-end}}


== Templates == == Templates ==
;{{tlx|In-universe}}
If you notice an article that predominantly describes a fictional topic from an in-universe perspective, or even provides no indication that a fictional subject is fictional, preferably rewrite the article or section yourself, or use the {{tlf|In-universe}} template to bring the issue to the attention of others. You could also leave a note on the article's talk page explaining your objections. The template looks like this:


;{{tl|In-universe}} {{In-universe}}<br />
;{{tlx|Cleanup tense}}
If you notice an article that predominantly describes a fictional topic from an in-universe perspective, or even provides no indication that a fictional subject is fictional, preferably improve it yourself, or add the {{tl|In-universe}} template to bring the issue to the attention of others. Be sure to leave a note on the article's talk page explaining your objections. This template looks like this:
One of the most frequently occurring errors associated with an in-universe style of writing is incorrect use of past tense when discussing elements of the plot. ]. As with all other article issues, preferably fix it yourself, or alternatively you may use the template to supplement and specify the {{tlf|In-universe}} template's call for a consistent real-world perspective.


{{Cleanup tense}}<br />
{{In-universe}}
;{{tlx|Primary sources}}
If you notice an article featuring only primary sources and sources affiliated with the subject, preferably find and add suitable sources yourself, or use the {{tlf|Primarysources}} template to bring the issue to the attention of others.


{{Primary sources}}<br />
;{{tl|Primarysources}}
;{{tlx|No plot}}
If you notice an article featuring only primary sources and sources affiliated with the subject, preferably improve it yourself, or add the {{tl|Primarysources}} template to bring the issue to the attention of others. This template looks like this:
When the article is missing a plot summary entirely, use the {{tlf|No plot}} template. If you feel qualified to write a basic plot summary, consider giving it a shot. ] and deciding which elements to mention and how to describe and weight them can be a challenge, but it's also a rewarding experience; plot summaries can be entirely based on primary sources and in many cases no complicated cross-reading between various sources is required.


{{No plot}}<br />
{{Primarysources}}
;{{tlx|Hook}}, {{tlx|More plot}}
When the plot summary is present but insufficient (for example, if it summarizes the conflict but omits the resolution, or consists only of a blurb or "hook"), use the {{tlf|Hook}} or {{tlf|More plot}} template.


{{Hook}}
== Alternative outlets for fictional universe articles ==
{{More plot}}<br />
;{{tlx|Long plot}}
A plot summary should be succinct and focused on the main plot. ] can sometimes be a difficult decision. If you have the time and energy, please consider tightening overly long and overly detailed plot summaries yourself.


Some other Misplaced Pages-like projects prefer in-universe perspective. These are a good alternative for editors interested in such topics. The following is a partial list:
<!-- please use EXTERNAL LINKS ONLY in this list please -->
* — Describes the universe of the ''24'' television show.
* - A wiki concerning the Marvel Comics team Alpha Flight
* — A ''Battlestar Galactica''-related encyclopedia.
* — Describes the ''Pokémon'' universe.
* — A wiki about webcomics.
* — An unofficial DC Comics wiki.
* - A wiki about the ''Dragon Ball'' multiverse.
* and - wikis devoted to the ] game.
* — A wiki about computer and video games, board, card and pen and paper games.
* - Eragon
* ] — ''Family Guy''
* — A wiki dedicated to the ''Final Fantasy'' franchise.
* — Community fansite/wiki for several computer games such as: ''Guild Wars'' and ''The Elder Scrolls IV: Oblivion'' and ''Warhammer Online''.
* - a wiki devoted to the world of ].
* — A wiki dedicated to the ''Lost'' universe.
* — An unofficial Marvel Comics wiki.
* — The official Marvel Comics wiki.
* — Describes the ''Star Trek'' universe.
* - ] wiki
* — A ''Simpsons''-related wiki.
* — A wiki dedicated to the ''Tenchi'' anime series.
* — A wiki dedicated to J.R.R. Tolkien and his works.
* — A user-edited compedium of television knowledge.
* — A wiki dedicated to ''The Elder Scrolls'' series.
* — Describes the ''Star Wars'' universe.
* — A wiki for the ''World of Warcraft'' videogame.
* A wiki devoted to the MMORPG RuneScape.


{{Long plot}}<br />

; {{tlx|All plot}}

When the article contains little more than a plot summary, use {{tlf|All plot}} to raise the issue. Since a lack of significant coverage in reliable secondary sources may eventually lead to the article's being nominated for deletion, consider improving the article yourself.

{{All plot}}<br />

== Alternative outlets for fictional universe articles ==
{{see also|List of wikis}} {{see also|List of wikis}}
Many fictional universes have dedicated wikis that may feature more comprehensive coverage of the in-universe aspects of the work, without the need to establish real-world perspective. If a universe is not available in the above link, please try a ].


== Infoboxes and succession boxes == == Infoboxes and succession boxes ==
{{shortcut|MOS:WAF-INFO}}{{anchor|Infoboxes}}

], usually placed in the upper-right portion of an article, give key data about the article's subject in tabular format. For entities within fiction, useful infobox data might include the creators or actors, first appearance, an image, and in-universe information ''essential'' to understanding the entity's context in the overall fiction. What qualifies as essential varies based on the nature of the work. Where facts change at different points in a story or series, there may be no appropriate in-universe information at all to add. By contrast, an infobox on a character in a ] work with multiple warring factions may warrant data such as allegiance. ], usually placed in the upper-right portion of an article, give key data about the article's subject in tabular format. For entities within fiction, useful infobox data might include the creators or actors, first appearance, an image, and in-universe information ''essential'' to understanding the entity's context in the overall fiction. What qualifies as essential varies based on the nature of the work. Where facts change at different points in a story or series, there may be no appropriate in-universe information at all to add. By contrast, an infobox on a character in a ] work with multiple warring factions may warrant data such as allegiance.


As with all infoboxes, trivial details should be avoided. An infobox for a real-life actor would not contain items such as ''favorite food'' and ''hobbies''; these details do not aid the reader in understanding the ''important'' characteristics of the subject. In the same way, infoboxes about fictional entities should avoid delving into minutiae, such as information only mentioned in supplementary backstory. For this reason, infoboxes meant for real-world entities should not be applied to their fictional counterparts, since, for example, information important to a description of a real-world company may be tangential to a fictional one. It is important to identify the revenue of ], whereas the fact that fictional MegaAcmeCorp makes 300 billion GalactiBucks in the year 2463 is probably unimportant. As with all infoboxes, trivial details should be avoided. An infobox for a real-life actor would not contain items such as ''favorite food'' and ''hobbies''; these details do not aid the reader in understanding the ''important'' characteristics of the subject. In the same way, infoboxes about fictional entities should avoid delving into minutiae, such as information only mentioned in supplementary backstory. For this reason, infoboxes meant for real-world entities should not be applied to their fictional counterparts, since, for example, information important to a description of a real-world company may be tangential to a fictional one. It is important to identify the revenue of ], whereas the fact that fictional MegaAcmeCorp makes {{Nowrap|300 billion}} GalactiBucks in 2463 is probably unimportant.


Another common type of template, ], should not be used to describe in-universe relationships in articles about fictional entities. Succession boxes assume continuity, which may not exist. Furthermore, they may invite the creation of non notable articles that fall under the fictional succession. For articles about works of fiction themselves, the story that each work of fiction depicts does not change despite the continuation of stories across serial works or sequels, and as a consequence, the events within one work of fiction are always in the present whenever it is read, watched, or listened to. In-universe temporal designations such as "current" or "previous" are therefore inappropriate. For character articles (which cannot be bound temporally), it may be acceptable to use customized templates to summarize information from the perspective of the real world, such as connections between articles describing the same fictional world. Such templates should not invite the creation of articles about non-notable subjects. Another common type of template, ], should not be used to describe in-universe relationships in articles about fictional entities. Succession boxes assume continuity, which may not exist. Furthermore, they may invite the creation of non-notable articles that fall under the fictional succession. For articles about works of fiction themselves, the story that each work of fiction depicts does not change despite the continuation of stories across serial works or sequels, and as a consequence, the events within one work of fiction are always in the present whenever it is read, watched, or listened to. In-universe temporal designations such as "current" or "previous" are therefore inappropriate. For character articles (which cannot be bound temporally), it may be acceptable to use customized templates to summarize information from the perspective of the real world, such as connections between articles describing the same fictional world. Such templates should not invite the creation of articles about non-notable subjects.

==Categories==
A number of ] exist to sort works of fiction by their major themes and narrative elements which can help readers find related works. For example, works on ''Harry Potter'' should be categorized in ]. However, editors should be careful not to use an excessive number of categories, and should only use the categories that primarily cover the work, where it would be nearly impossible to concisely describe the work or topic of fiction without broadly mentioning the category. While ] may readily apply to stories where blood is a major element such as works about vampires, the work should not be placed into this category just based on the appearance of blood in the work. Overzealous sorting can diffuse the usefulness of these categories, as well as over-categorize certain works.


== See also == == See also ==
* ], see Summary-only descriptions of works
* ] sub-guidelines:
** ]
** ]
** ]
** ]
** ]
** ]
* ] for:
** ]
** ]
** ]
** ]
** ]
* ] on:
** ]
** ]
** ]
** ]
** ]
** ]
** ]


=== Related wikiprojects ===
* ]
* ]
* ]
* ]
* ]: ] | ] | ]

=== Related WikiProjects ===

These are some of the more important ]s that deal with ] material. They may have additional suggestions, article templates and styles that you might wish to make yourself familiar with.


These are some of the larger ] that deal with fiction material. They may have additional ], article templates and styles with which you might wish to make yourself familiar.
* ] * ]
* ] * ]
* ] ** ]
* ] ** ]
* ] ** ]
* ] * ]
* ] * ]
* ] * ]
There are also numerous genre-specific and even franchise-specific wikiprojects; see ] for listings.

]



<!-- ] -->


] ]
]
]
]

Latest revision as of 05:54, 28 December 2024

Misplaced Pages project page
This guideline is a part of the English Misplaced Pages's Manual of Style.
It is a generally accepted standard that editors should attempt to follow, though occasional exceptions may apply. Any substantive edit to this page should reflect consensus. When in doubt, discuss first on the talk page.		Shortcuts
This page in a nutshell: Misplaced Pages articles should describe fiction and fictional elements from the perspective of the real world, not from the perspective of the fiction itself. Jump to § Conclusions for a more detailed summary of this guideline's contents.
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Related guidelines

Misplaced Pages contains numerous articles on subjects related to fiction, including fictional worlds and elements therein. When creating these articles, editors should establish the subject's real-world notability by including several reliable, independent secondary sources. This approach will also ensure enough source material is available to write a balanced article that is more than just a plot summary, meeting the policy on what Misplaced Pages is not.

Once an article about fiction or a fictional subject meets basic policies and guidelines, editors should consider: (a) what to write about the subject, and (b) how to best present that information. These questions are complementary and should be addressed simultaneously to create a well-written article or improve a preexisting one.

Real-world perspective

Shortcuts

Articles about fiction, like all Misplaced Pages articles, should use the real world as their primary frame of reference. As such, the subject should be described from the perspective of the real world. To achieve this, editors must use both primary and secondary information.

Important aspects of real-world perspective include:

  • Careful differentiation between the work itself and aspects of its production process and publication, such as the impact it has had in the real world (see also below)
  • Careful differentiation between narrated time and fictional chronology on the one hand, and narrative time and actual chronology of real-world events on the other (of particular relevance to all film and TV-related topics)
  • The presentation of fictional material
  • Description of fictional characters, places and devices as objects of the narrative
  • Mentioning the creator

The problem with in-universe perspective

Shortcuts

An in-universe perspective describes the narrative (or a fictional element of the narrative, such as characters, places, groups, and lore) from the vantage of characters within the fictional universe, treating it as if it were real and ignoring real-world context and sourced analysis. Many fan wikis and fan websites (see below) take this approach, but it should not be used for Misplaced Pages articles. An in-universe perspective can be misleading to the reader, who may have trouble differentiating between fact and fiction within the article. Furthermore, articles with an in-universe perspective are more likely to include unverifiable original research due to reliance on the primary source. Most importantly, in-universe perspective defies community consensus as to what we do not want Misplaced Pages to be.

Features often seen in an inappropriate, in-universe perspective include:

  • Describing aspects of the work as if they were real.
  • Using past tense when discussing the plot or any of its elements (except backstory), rather than the narrative present tense.
  • Presenting backstories of fictional elements as real-world historical accounts. For example, an in-universe perspective might describe the history of Starfleet from the Star Trek franchise in a manner similar to that of the US Air Force, giving extensive detail to topics such as creation, fleet composition, battles, and key events. Instead, descriptions of Starfleet should cover only the most essential details and mention the specific works (TV episodes, films, books, etc.) in which these details were included.
  • Fictography – a character description that is written like a biography, placing undue emphasis on fictional traits (titles, birthdates, etc.) that are unimportant to the plot or its interpretation. For example, instead of introducing the character as "Gandalf was a powerful wizard", write "Gandalf is characterised as a powerful wizard", or "Gandalf is a wizard who appears within the works of J. R. R. Tolkien".
  • Labeling fictional characters with descriptors such as "deceased" or "formerly" (see also WP:LABELFICTION).
  • Attempting to reconcile contradictions or bridge gaps in the narrative, rather than simply reporting them as such.
  • Giving undue weight to a fictional topic's appearances in obscure spin-off material.
  • Placing spiritual successors in the same continuity as the works that inspired them.
  • Using in-jokes and references that require knowledge of a work's plot, its fictional elements, or related works.
  • In the plot summary, giving undue weight to a work's most memorable scenes or lines in relation to their importance to the rest of the plot. Elements that have entered popular culture should be covered in a "Reception" or "Legacy" section. Example: Monty Python and the Holy Grail has jokes and phrases that have entered popular parlance but have little effect on the story's actual progression; however, the murder of the historian in one scene is a sight gag that is actually plot-relevant and should be described briefly.
  • Using infoboxes intended for real-world topics.
  • Referring to the fictional events or dates that occur in the story, rather than the fictional works themselves. For example, instead of writing "It is the year 34,500 AD, when the Trantorian Empire encompasses roughly half the galaxy", write "The Currents of Space is set in 34,500 AD, when the Trantorian Empire encompasses roughly half the galaxy", or similar.
  • Making connections to real-world people, places, or events that are not clearly established by the work. Editors can include material about historical events and figures when writing about historical fiction (e.g., how the fiction diverges from recorded history), but they should not assume connections for speculative fiction. For example, the 1988 film Akira takes place in Neo-Tokyo on the eve of the 2020 Olympics. By happenstance, the real-world Tokyo hosted the 2020 Summer Olympics; do not conflate or compare the fictional event of the film with the actual event. However, when a prediction has received coverage in reliable sources or entered the popular culture, it may be discussed in a separate section from the plot. For example, the predictions made about the year 2015 in Back to the Future Part II, cited to secondary reliable sources, can be discussed in a designated section.
  • Ordering works by their fictional chronology, rather than the actual order in which they were published. Articles should give precedence to a clear real-world chronology, while the in-universe order of events can be summarized in a prose plot summary. For example, although the story of Star Wars Episode I: The Phantom Menace is a prequel that represents the beginning of the Star Wars narrative, it should be defined by release order because it was the fourth film released in the series.

These restrictions also apply to serious satire such as Gulliver's Travels, Candide, and many stage plays, in which the fictional elements camouflage the political or social criticism within the work. In such cases, it is legitimate to use reliable sources to examine the fictional elements and the design of the storyline when such sources attempt to decipher the author's original intent. Also, exemptions might apply to other special forms of literature in which the fiction/non-fiction categorization is disputed, such as the possibly historical elements of religious scripture.

Sources of information

Shortcut See also: Misplaced Pages:No original research § Primary, secondary and tertiary sources

This section deals with the incorporation of information in articles about fiction, specifically in regard to primary and secondary sources.

Primary

Shortcuts

In an article about fiction, the fiction itself is the main primary source. Even articles with the strictest adherence to a real-world perspective still source the original work. According to the policy WP:No original research § Primary, secondary, and tertiary sources, "A primary source may be used on Misplaced Pages only to make straightforward, descriptive statements of facts that can be verified by any educated person with access to the primary source but without further, specialized knowledge. ... Do not analyze, evaluate, interpret, or synthesize material found in a primary source yourself; instead, refer to reliable secondary sources that do so."

Examples of information in primary sources include:

  • the birth and death dates of fictional characters;
  • performance statistics or characteristics for fictional vehicles or devices;
  • history of fictional locations or organizations;
  • background information on fictional creatures; and
  • the plot itself.

Secondary

Secondary information is external to the fictional universe; it is usually taken from secondary sources about the work or the fictional world it describes, or from primary and secondary sources about the author and the creation of the work. Publications affiliated with a particular work (such as fan magazines) are mostly not considered suitable secondary sources about the primary works. However, such publications may be suitable primary or secondary sources in an article about the fan publication itself or other related topics.

The rule of thumb is to use as much secondary information as necessary and useful to cover the topic's major facts and details from a real-world perspective – not more and not less. Another rule of thumb is that if the topic is notable, secondary information should be available and possibly already in the article.

Examples of useful information typically provided by secondary sources about the original work, or primary and secondary sources about information related to the work, include the:

  • author, creator, or other key figures in the creation process (e.g., the cinematographer for films);
  • production company and/or publishing house;
  • design and development (at all stages of the work's creation);
  • real-world factors that influenced the work (or an aspect thereof);
  • actors who portrayed a character (and their approach to the depiction);
  • noteworthy foreign translations;
  • sales figures (for commercial offerings);
  • reception by critics and the public;
  • critical analysis, including discussion of themes, style, motifs, and genre; and
  • influence on later creators and their projects.

Contextual presentation

Shortcut

An article about a fictional work should include a plot summary. Character descriptions or direct quotations could also be helpful in some cases. By convention, the summary should be written in the continuous present tense, also known as the narrative present, as this is how a reader, listener, or viewer experiences the story (see also WP:FICTENSE).

Plot summaries and character descriptions should be written in an out-of-universe style, presenting the narrative from an external real-world frame of reference from the characters or setting. For example, instead of starting a plot summary with "It is 2003", which puts the reader in the frame of reference of the work, start with "In 2003," which extracts the reader from that frame.

Plot summaries should be written as prose, not as lists or timelines. For some types of media, associated guidelines may offer advice on plot length; for example, WP:Manual of Style/Film § Plot and WP:Manual of Style/Novels § Plot say that plot summaries for feature films or full length novels should be between 400 and 700 words.

Misplaced Pages articles normally include plot spoilers, as explained in the spoiler guideline. A plot summary should cover the complete story, including all major plot points, significant twists, and the ending. Avoid using "teaser-style" descriptions designed to withhold key encyclopedic details, for example "In the end the family makes a shocking discovery…". Omitting or concealing plot elements due to concerns about spoilers is not acceptable. Spoiler warnings are never used on Misplaced Pages, for the reasons set out in the no disclaimers guideline.

Do not create articles consisting of a plot summary and little else. Sourced external context should always be presented, covering the development, design, reception, significance or influence of the work.

Plot summaries of individual works

In articles on individual works, the plot summary usually appears in a section labeled "Plot", "Story", or "Synopsis". This heading implicitly informs the reader that the text within it describes the fiction. It is thus usually not necessary for a plot summary to include explicit out-of-universe language, though care should be taken to avoid incorporating elements of an in-universe perspective. Subheadings based on natural divisions in the plot, such as the acts of a play or musical, can be used to provide real-world framing.

In a Misplaced Pages article on a work of fiction, the work itself serves as a primary source for a written description of the plot. Thus, a basic plot summary, without interpretation or explanation, does not normally require a reference to any outside source. References may be required in non-linear works such as video games and interactive films, where key elements of the plot may not be seen by the viewer due to how they interact with the work. For example, some of the core backstory to the video game BioShock is provided by optional audio logs, so Misplaced Pages's plot summary references these when they are relevant.

Works that incorporate non-linear storytelling elements, such as flashbacks (Citizen Kane) or In medias res (The Usual Suspects) presentation, or other narrative framing devices such as breaking the fourth wall (Ferris Bueller's Day Off) or inclusion of self-referential humor (Monty Python and the Holy Grail), may require inclusion of out-of-universe language to describe how the work is presented to the reader or viewer. For example, a summary of Citizen Kane should establish that much of the film is an extended flashback that is bookended by scenes in the film's present; the entire plot summary should still be written in narrative present tense. Summaries may depart from the fiction's chronological order if doing so enhances clarity or brevity. A work with two concurrent, interchanging storylines is likely better told by summarizing one storyline in full, followed by the second storyline. If the narrative device is a significant feature of the work, such as with the films Memento and Run Lola Run, then this structure should be explained to the reader.

The plot summary should normally set out the basic plot without any attempt to interpret or explain the creator's intent or meaning. Where a plot point is unclear or ambiguous, for example as a result of an unreliable narrator or storytelling technique, out-of-universe language can be used to describe (but not to interpret) the way in which events are presented. Discussion, interpretation and explanation of the plot requires the citation of external reliable sources, and is generally best included elsewhere in the article.

Plot summaries of serial works

A plot summary for a series might broadly describe the overall series storyline, related events in different works, or the life of a fictional character over multiple works. Section headers can delineate individual works in the series.

Spinout articles

When an article gets long, a section is sometimes developed into its own article, and the handling of the subject in the main article is condensed to a brief summary. The new article is sometimes called a "spinoff" or "spinout" of the main article. For fiction, such spinout articles are typically about characters or other elements that appear in multiple works. There may be a list of characters. If one individual character or plot item is sufficiently notable, it could have its own article. Such an article should make clear that the subject is part of the fictional world in question; characters should not be presented as if they are real persons, fictional settings should not be treated as real places, and so forth. Section labels such as "Fictional description" or "Appearances" can help to maintain a real-world perspective. Appropriate real-world information should also be included.

Even in a spinout article, excessive detail should be avoided. As with all Misplaced Pages articles, the spinout needs to be verifiable, must possess no original research, and must reflect a neutral point of view.

Sourcing and quotations

Shortcuts Further information: WP:PLOTCITE

The plot summary for a work, on a page about that work, does not need to be sourced with inline citations, as it is generally assumed that the work itself is the primary source for the plot summary. However, if the summary includes a direct quote from the work, this must be cited using inline citations so that readers can easily verify it. Brief citations from the primary work can also be helpful (but are not required) to source key or complex plot points. If all or most of the summary has been derived not from the work itself but from a comprehensive plot summary in a reliable secondary source, citing that source is recommended as a convenience to readers.

Analysis and interpretation

Plot summaries that rely on the work as a primary source should provide a straightforward account of the plot, free from interpretation. For example, a summary of Inception should not speculate on whether the spinning top remains upright or falls at the end of the film. Any interpretive content should be placed in a separate analysis section and supported by secondary sources, in accordance with the prohibition on original research. Information drawn directly from a work as a primary source should represent how the work is presented to a typical reader or viewer, avoiding reliance on details that demand a meticulous word-by-word or frame-by-frame analysis beyond the standard experience of reading or watching.

In many visual works, viewers with relevant local or specialist knowledge may easily identify real-world locations, objects, or brands. However, such details should not be included in the plot summary unless they are explicitly referenced within the work and are directly relevant to the narrative. For instance, the DMC DeLorean in Back to the Future is explicitly identified in the film and is central to the story, making its inclusion in the summary appropriate. By contrast, while the setting of Seven can be recognised as Los Angeles through visible landmarks, the city should not be mentioned in the summary since the film does not explicitly name it and its specific features are not central to the story. If such details hold real-life significance and are supported by a secondary source, they may be included in a separate section, such as one addressing filming locations or behind-the-scenes matters.

Notability

Generally speaking, a fictional topic that does not meet the notability guidelines should not have its own article on Misplaced Pages. However, a collection of fictional topics, such as a setting or cast of characters, may be more notable as a whole. As mentioned earlier, the rule of thumb is that if the topic is sufficiently notable, secondary sources will be available and will ideally be included upon article creation, to show that the article should exist.

Accuracy and appropriate weight

Articles must be written from a neutral point of view and must give due weight to all aspects of the subject. Editors should also give appropriate weight to all elements of the article (e.g., images and text, as well as infoboxes and succession boxes). The goal is to attain the greatest possible degree of accuracy in covering the topic at hand, which is also the basic rationale behind discouraging disproportionately long plot summaries and in-universe writing.

Fair use

Shortcut

As the Wikimedia Foundation is based in the United States, Misplaced Pages articles must conform to United States copyright law. It has been held in a number of court cases that any work which re-tells original ideas from a fictional source, in sufficient quantity without adding information about that work, or in some way analysing and explaining it, may be construed as a derivative work or a copyright violation. This may apply irrespective of the way information is presented, in or out of the respective fictional universe, or in some entirely different form such as a quizbook or "encyclopedia galactica".

Information from copyrighted fiction can be provided only under fair use, and Misplaced Pages's non-free content policy requires minimal extent of use. Many works of fiction covered by Misplaced Pages are protected by copyright. Some works are sufficiently old that their copyright has expired, or the rights may have been released in some way, such as under the CC BY-SA license, or into the public domain. In these cases, the works themselves may be hosted at a Wikimedia project like Wikisource, but the Misplaced Pages should still cover the work tersely.

Conclusions

When writing about fiction, keep the following in mind.

  • Write from a real-world perspective: the principal frame of reference is always the real world, not a fictional world in which the story occurs.
  • Use a balance of primary and secondary sources: both are necessary for a real-world perspective.
  • Avoid original research: unpublished personal observation and interpretation are not acceptable on Misplaced Pages.
  • Reference all information and cite your sources: information needs to be verifiable. Sources must be appropriately cited in the article.
  • Maintain balanced coverage: all relevant aspects must be given due weight in all elements of the article, including text, images, layout, and even the article title. Avoid lists of fictional events or trivia. Instead, incorporate relevant information into the article as prose, and discard information that is either redundant or unnecessary to understanding that topic. If a fictional topic is not covered in several independent, reliable, secondary sources, then it probably should not have its own article.
  • Put all content in the correct context: readability and comprehensibility are key, and the reader should always be able to differentiate between real world and fictional content.
  • Use copyrighted work sparingly: check the image use policy before adding images to any article. Ensure the article complies with Misplaced Pages's fair-use policy.

List of exemplary articles

See also: Category:FA-Class novel articles, Category:FA-Class Fantasy fiction articles, Category:FA-Class Comics articles, Category:FA-Class science fiction articles, and Category:FA-Class video game articles

Here are examples of fiction-related articles that, at last check, followed the real-world perspective. This is a brief selection; for other equally exceptional examples, see the lists of articles that have been rated at Good and Featured status.

List of articles as of 17 December 2024:

Complete works

Novels

Films

Television series

Television episodes

Comics

Video games

Miscellaneous

Characters

Cartoons

Video games

Elements of fictional works

Templates

{{In-universe}}

If you notice an article that predominantly describes a fictional topic from an in-universe perspective, or even provides no indication that a fictional subject is fictional, preferably rewrite the article or section yourself, or use the {{In-universe}} template to bring the issue to the attention of others. You could also leave a note on the article's talk page explaining your objections. The template looks like this:

This article describes a work or element of fiction in a primarily in-universe style. Please help rewrite it to explain the fiction more clearly and provide non-fictional perspective. (Learn how and when to remove this message)


{{Cleanup tense}}

One of the most frequently occurring errors associated with an in-universe style of writing is incorrect use of past tense when discussing elements of the plot. Works of fiction are generally considered to "come alive" when read. As with all other article issues, preferably fix it yourself, or alternatively you may use the template to supplement and specify the {{In-universe}} template's call for a consistent real-world perspective.

This article may use tenses incorrectly. Please help improve this article. (Learn how and when to remove this message)


{{Primary sources}}

If you notice an article featuring only primary sources and sources affiliated with the subject, preferably find and add suitable sources yourself, or use the {{Primarysources}} template to bring the issue to the attention of others.

This article relies excessively on references to primary sources. Please improve this article by adding secondary or tertiary sources.
Find sources: "Writing about fiction" – news · newspapers · books · scholar · JSTOR (Learn how and when to remove this message)


{{No plot}}

When the article is missing a plot summary entirely, use the {{No plot}} template. If you feel qualified to write a basic plot summary, consider giving it a shot. Succinctly summarizing a plot and deciding which elements to mention and how to describe and weight them can be a challenge, but it's also a rewarding experience; plot summaries can be entirely based on primary sources and in many cases no complicated cross-reading between various sources is required.

This article needs a plot summary. Please add one in your own words. (Learn how and when to remove this message)


{{Hook}}, {{More plot}}

When the plot summary is present but insufficient (for example, if it summarizes the conflict but omits the resolution, or consists only of a blurb or "hook"), use the {{Hook}} or {{More plot}} template.

This plot summary may be a hook or written as if for a listings magazine. Please help improve it by ensuring it covers the whole story, however briefly, and in an encyclopedic style. (Learn how and when to remove this message)
This article needs an improved plot summary. Please help improve the plot summary. (Learn how and when to remove this message)


{{Long plot}}

A plot summary should be succinct and focused on the main plot. What to cut can sometimes be a difficult decision. If you have the time and energy, please consider tightening overly long and overly detailed plot summaries yourself.


This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (Learn how and when to remove this message)


{{All plot}}

When the article contains little more than a plot summary, use {{All plot}} to raise the issue. Since a lack of significant coverage in reliable secondary sources may eventually lead to the article's being nominated for deletion, consider improving the article yourself.

This article consists almost entirely of a plot summary. Please help improve the article by adding more real-world context. (Learn how and when to remove this message)


Alternative outlets for fictional universe articles

See also: List of wikis

Many fictional universes have dedicated wikis that may feature more comprehensive coverage of the in-universe aspects of the work, without the need to establish real-world perspective. If a universe is not available in the above link, please try a search engine.

Infoboxes and succession boxes

Shortcut

Infoboxes, usually placed in the upper-right portion of an article, give key data about the article's subject in tabular format. For entities within fiction, useful infobox data might include the creators or actors, first appearance, an image, and in-universe information essential to understanding the entity's context in the overall fiction. What qualifies as essential varies based on the nature of the work. Where facts change at different points in a story or series, there may be no appropriate in-universe information at all to add. By contrast, an infobox on a character in a fantasy work with multiple warring factions may warrant data such as allegiance.

As with all infoboxes, trivial details should be avoided. An infobox for a real-life actor would not contain items such as favorite food and hobbies; these details do not aid the reader in understanding the important characteristics of the subject. In the same way, infoboxes about fictional entities should avoid delving into minutiae, such as information only mentioned in supplementary backstory. For this reason, infoboxes meant for real-world entities should not be applied to their fictional counterparts, since, for example, information important to a description of a real-world company may be tangential to a fictional one. It is important to identify the revenue of Microsoft, whereas the fact that fictional MegaAcmeCorp makes 300 billion GalactiBucks in 2463 is probably unimportant.

Another common type of template, succession boxes, should not be used to describe in-universe relationships in articles about fictional entities. Succession boxes assume continuity, which may not exist. Furthermore, they may invite the creation of non-notable articles that fall under the fictional succession. For articles about works of fiction themselves, the story that each work of fiction depicts does not change despite the continuation of stories across serial works or sequels, and as a consequence, the events within one work of fiction are always in the present whenever it is read, watched, or listened to. In-universe temporal designations such as "current" or "previous" are therefore inappropriate. For character articles (which cannot be bound temporally), it may be acceptable to use customized templates to summarize information from the perspective of the real world, such as connections between articles describing the same fictional world. Such templates should not invite the creation of articles about non-notable subjects.

Categories

A number of categories exist to sort works of fiction by their major themes and narrative elements which can help readers find related works. For example, works on Harry Potter should be categorized in Fictional characters who use magic. However, editors should be careful not to use an excessive number of categories, and should only use the categories that primarily cover the work, where it would be nearly impossible to concisely describe the work or topic of fiction without broadly mentioning the category. While Category:Blood in fiction may readily apply to stories where blood is a major element such as works about vampires, the work should not be placed into this category just based on the appearance of blood in the work. Overzealous sorting can diffuse the usefulness of these categories, as well as over-categorize certain works.

See also

Related wikiprojects

These are some of the larger wikiprojects that deal with fiction material. They may have additional suggestions, article templates and styles with which you might wish to make yourself familiar.

There are also numerous genre-specific and even franchise-specific wikiprojects; see WP:WikiProject Council for listings.

Categories: