18 of language and structure. It is always more than the sum of the individual parts
because the unity of all these elements that produce story. Furthermore, by understanding every different parts or elements and how they work together can
help the readers to become more analytical about literary works; and also can improve their judgment or interpretation toward literature.
a. Character
Character is the term which is generally used in the aggregate of mental, emotional, and social qualities that distinguish a person. In literature, however, the
term character is u sed to mean a person, or in the case of children‘s literature,
sometimes a personified animal or object Lukens, 1999: 80. Furthermore, Lukens 1999: 100 adds that adults find a great pleasure in
reading about people like themselves or people they know, being wise and foolish, brave and coward, frightened and confident, lonely and secure. Children, as much
as adult or perhaps even more, need the discovery of themselves as part of humanity through the pleasure of recognition. Conversely, they need the pleasure
of discovering that humanity exists in them. If literature is to help children understand the nature of human beings, adults need reality in the portrayal of
character.
b. Plot
Plot is the sequence of events showing character action. This sequence not accidental but is choose by the author as the best way of telling his or her story. If
the author has chosen well, the plot will produce conflict, tension, and action that will arouse and hold readers interest Lukens, 1999: 103.
19 Children want what more adults want in literature: action, happenings,
questions that need answers, answers that fit questions, glimpses of happy and unhappy outcomes, discovery of how events grow and turn. The most usual plot
structure found in children‘s books is chronological plot, which covers a particular period of time relate the events in order within the time period Lynch-Brown and
Tomlinson, 1999: 27.
c. Setting
Setting is the time when the story occurs and the places where it occurs to constitute setting in the story Lynch-Brown and Tomlinson, 1999: 30. Setting is
of two principal types. First, it may be a backdrop for the plot, like the generalized backdrop of a city, street, or forest against which we can see some of the action of
a play. Second, setting may be an integral part of the story, so essential to our understanding of the plot, the characters, and the themes that readers must
experience it with their senses Lukens, 1999: 172.
d. Style
