Aspects of the Novel Summary

E.M. Forster’s book Aspects of the Novel is an important work of literary criticism that helps explain what makes a novel work. The book is based on a series of informal lectures Forster gave in 1927 at Trinity College, University of Cambridge. Forster was not only a critic but also a well-known novelist, famous for books like Howards End and A Passage to India. In Aspects of the Novel, he discusses the form and function of the novel, sharing his insights as both a writer and a thinker. His approach combines creativity with academic analysis, making his study of the novel both engaging and thought-provoking.

Forster begins by explaining that his book is based on a lecture series. He plans to focus on novels from the past 200 years, mostly from England, but he also refers to French and Russian literature when relevant. He defines a novel as a work of fiction with at least 50,000 words, and he distinguishes it from both history and poetry. While he acknowledges that time and historical context are important in literary studies, he says that he is not a true scholar. Instead, he asks readers to imagine a room where all novelists from the past 200 years are writing at the same time. This idea helps illustrate that, despite being written in different eras, novels can share common elements. To prove this, he compares excerpts from novels written many years apart, showing that they can sound surprisingly similar.

Forster divides his discussion into three main sections: Story, People, and Plot; Fantasy and Prophecy; and Pattern and Rhythm. In his discussion of story, he challenges common ideas about what a story is. He separates story from plot—story is simply a sequence of events that answers the question, “What happened?” Plot, on the other hand, explains why something happened, connecting events through cause and effect. Forster describes story as the most basic element of literature and the novel. He follows a clear pattern in his explanations: first, he defines each aspect, then he describes what it asks of the reader, and finally, he explains how it contributes to a novel. According to Forster, story requires only curiosity from the reader. Because it is the simplest element, it requires the simplest response. While story may not demand much from the writer or reader, it is essential because it gives the novel a sense of time and meaning.

Next, Forster shifts from story to people, focusing on characters in novels. He emphasizes a major theme that runs throughout his book: the deep humanity of the novel. Novels, he argues, are more focused on human life than any other art form, including other types of literature. A novelist must understand human beings and their emotions. Although characters in novels are not real people, they must feel real to the reader. Forster highlights the differences between fictional characters and real people. For example, in real life, people spend a third of their time sleeping, but in novels, sleep is usually only mentioned when it involves dreams that reflect the book’s themes. Similarly, food is an essential part of everyday life, but in novels, it is usually included only when it serves as a backdrop for social interactions.

Forster supports his points with examples from well-known novels. To explain how characters function in a novel, he refers to Charles Dickens, Jane Austen, and Daniel Defoe’s Moll Flanders. Moll Flanders focuses entirely on a single character and her life experiences. Forster contrasts this with Austen’s ability to interweave multiple characters into a unified plot. He also introduces one of his most famous ideas: the difference between flat and round characters. A flat character is simple and does not change, while a round character is complex and undergoes development. Forster believes that both types of characters are important. Flat characters serve specific purposes in a novel and help develop round characters by interacting with them.

After discussing characters, Forster moves on to plot. He explains that, while story relies on curiosity, plot requires intelligence and memory. Readers must think about the reasons behind events rather than just following a sequence of actions. Crafting a strong plot is difficult because real life does not follow a structured pattern. Writers must balance the need for a satisfying ending with the unpredictability of human life. A good plot should feel natural rather than forced.

The structural elements of a novel—story, people, and plot—are essential, but Forster believes that great novels go beyond structure. They achieve deeper meaning through fantasy and prophecy. Fantasy involves the impossible and asks the reader to suspend disbelief. However, fantasy does not have to include supernatural elements—any imaginative departure from reality can create a sense of fantasy. Prophecy is different; it is not about predicting the future but about the author adopting a god-like perspective, creating a world where only important events and characters exist. Forster argues that fantasy and prophecy help novels rise above ordinary life while still remaining relatable to readers.

In his final chapter, Forster discusses the artistic qualities of a novel: pattern and rhythm. Pattern is the overall structure of the novel and is similar to visual art. While it is related to plot, it exists on a higher level, creating a sense of unity and satisfaction for the reader. Rhythm is the musical quality of a novel, created through repeated themes and images. However, Forster distinguishes between a small rhythm, which appears in parts of the book, and a grand rhythm, which shapes the entire work.

Forster concludes by returning to his idea of the round room filled with novelists. This time, he includes future novelists as well. He suggests that humanity itself can change over time, and if it does, novelists will play a crucial role in shaping that transformation.