Misplaced Pages

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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 MOS:WAF WP:WAF

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.

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

• MOS:REALWORLD
• MOS:FICTIONAL

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
  • particularly for film and TV-related topics, this may include cinematographical aspects
  • for literature, this may include writing style and literary technique
• Description of fictional characters, places and devices as objects of the narrative
• Mentioning the creator

The problem with in-universe perspective

• MOS:INUNIVERSE
• MOS:OUTUNIVERSE
• MOS:IN-U
• WP:UNIVERSE

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

• MOS:PASI

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

Primary

• MOS:BOOKPLOT
• MOS:FICTIONPLOT
• WP:BOOKPLOT

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

• MOS:PLOT

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

• WP:PLOTREF
• MOS:PLOTSOURCE

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

• MOS:FAIR USE

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

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:

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

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

• MOS:WAF-INFO

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

• Misplaced Pages is not an indiscriminate collection of information, see Summary-only descriptions of works
• Misplaced Pages:Manual of Style sub-guidelines:
  • Anime and manga
  • Comics
  • Films
  • Novels
  • Television
  • Video games
• Article titles for:
  • Books
  • Comics
  • Films
  • TV
  • Video games
• Misplaced Pages Essays on:
  • Misplaced Pages:Fancruft
  • Misplaced Pages:Writing better articles
  • Misplaced Pages:How to write a plot summary
  • Misplaced Pages:How to streamline a plot summary
  • Misplaced Pages:Naming character articles
  • Misplaced Pages:Notability (fiction)
  • Misplaced Pages:Plot-only description of fictional works

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.

• WikiProject Anime and manga
• WikiProject Books
  • WikiProject Children's literature
  • WikiProject Comics
  • WikiProject Novels
• WikiProject Film
• WikiProject Television
• WikiProject Video games

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

• Misplaced Pages Manual of Style (arts)
• Misplaced Pages how-to
• Fiction Misplaced Pages administration