Here's a breakdown:
What it is:
* A tool: It's a device used by authors to move the story forward.
* An artificiality: It's something that doesn't feel natural or believable in the context of the story.
* A shortcut: It often allows the author to avoid developing the plot organically.
* A potential distraction: It can draw attention to itself and disrupt the reader's immersion in the story.
Examples:
* Deus ex machina: A sudden, unexpected intervention by an outside force (like a god or a magical object) that solves the protagonist's problems without them having to earn it.
* Convenient coincidence: Two characters bumping into each other in a random, unexpected way that serves the plot, even though it's improbable.
* The damsel in distress: A female character who is put in danger and needs to be rescued by the male protagonist.
* The "love at first sight" trope: Two characters instantly fall in love without any real reason or development of their relationship.
When it can be effective:
* In fantasy or sci-fi: Contrivances can be used to create fantastical elements and enhance the magical or futuristic nature of the story.
* For comedic purposes: Contrivances can be used for humor, as in slapstick comedy or farcical scenarios.
* For dramatic effect: They can be used to create a sense of urgency or suspense, but only if they don't undermine the story's credibility.
When it is problematic:
* When it feels unrealistic: If a contrivance is too far-fetched or implausible, it can break the reader's suspension of disbelief.
* When it overshadows character development: If the plot is driven by contrivances rather than the characters' actions and motivations, it can make the story feel shallow and unsatisfying.
* When it feels like a shortcut: A contrivance should be used with care, as it can create a sense of artificiality if it's not handled skillfully.
Ultimately, the success of a literary contrivance depends on how skillfully the author uses it. A well-crafted contrivance can be an effective tool, but a poorly executed one can harm the story.