An illustration from Lewis Carroll's Alice's Adventures in Wonderland, depicting the fictional protagonist, Alice, playing a fantastical game of croquet.

Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual (or, at least, assumed factual) events, descriptions, observations, etc. (e.g., biographies, histories).

Types of fiction[link]

Realistic fiction[link]

Realistic fiction, although untrue, could actually happen. Some events, people, and places may even be real. This is termed "faction".

It can be possible that in the future imagined events could physically happen. For example, Jules Verne's novel From The Earth To The Moon, which at that time was just a product of his rich imagination, was proven possible in 1969, when Neil Armstrong and Buzz Aldrin set foot on the Moon, and the team returned safely to Earth.

Realistic fiction strives to make the reader feel as if they're reading something that is actually happening—something that though not real, is described in a believable way that helps the reader make a picture as if it were an actual event. This can also confuse the reader into making the reader thinking it's non-fiction.

Non-realistic fiction[link]

Non-realistic fiction is that in which the story's events could not happen in real life, because they are supernatural, or involve an alternate form of history of mankind other than that recorded, or need impossible technology. A good deal of fiction books are like this, e.g. Alice In Wonderland, Harry Potter and The Lord of the Rings.

However, even fantastic literature is bidimensional: it is situated between the poles of realism and the marvelous or mythic. Geographical details, character descriptions etc. create a rhetoric of realism, which “invites the reader to ignore the text's artifice, to suspend one's disbelief, exercise poetic faith and thereby indulge in the narrative's imaginative world.” The bidimensionality appears within the story as astonishment or frightening. According to G.W. Young and G. Wolfe, fictional realities outside the text are evoked, and the reader's previous conceptions of reality are exposed as incomplete. Hence, “by fiction is one able to gain even fuller constructs of what constitutes reality”. On the other hand, the infinite fictional possibilities signal the impossibility of fully knowing reality. There is no criterion to measure constructs of reality − in the last resort they are “entirely fictional”.^[1]

Semi-Fiction[link]

Semi-Fiction is fiction implementing a great deal of non-fiction,^[2] for example: a fictional depiction "based on a true story", or a fictionalized account, or a reconstructed biography.

Often, even when the author claims the story is true, there may be significant additions and subtractions from the true story to make it more suitable for storytelling.

Elements of fiction[link]

Even among writing instructors and bestselling authors, there is little consensus regarding the number and composition of the fundamental elements of fiction. For example:

• "Fiction has three main elements: plotting, character, and place or setting." (Morrell 2006, p. 151)
• "A charged image evokes all the other elements of your story—theme, character, conflict, setting, style, and so on." (Writer's Digest Handbook of Novel Writing 1992, p. 160)
• "For writers, the spices you add to make your plot your own include characters, setting, and dialogue." (Bell 2004, p. 16)
• "Contained within the framework of a story are the major story elements: characters, action, and conflict." (Evanovich 2006, p. 83)
• " . . . I think point of view is one of the most fundamental elements of the fiction-writing craft . . . ." (Selgin 2007, p. 41)

As stated by Janet Evanovich, "Effective writing requires an understanding of the fundamental elements of storytelling, such as point of view, dialogue, and setting." (Evanovich 2006, p. 39) The debate continues as to the number and composition of the fundamental elements of fiction.^{[citation needed]}

Plot[link]

Plot, is what the character(s) did, said, and thought. It is the Action Proper given unity by the Enveloping Action, the Universal Action, the Archetypal Action. As Aristotle said, What gives a story unity is not as the masses believe that it is about one person but that it is about one action. Plot, or storyline, is often listed as one of the fundamental elements of fiction. It is the rendering and ordering of the events and actions of a story. On a micro level, plot consists of action and reaction, also referred to as stimulus and response. On a macro level, plot has a beginning, a middle, and an ending. Plot is often depicted as an arc with a zig-zag line to represent the rise and fall of action. Plot also has a mid-level structure: scene and summary. A scene is a unit of drama–where the action occurs. Then, after a transition of some sort, comes the summary–an emotional reaction and regrouping, an aftermath. For a delightful tongue-in-cheek comment on plot, see Katherine Anne Porter's "No Plot, My Dear, No Story" in The Occasional Writings and Collected Essays of Katherine Anne Porter, Seymour Lawrence, 1970.

[edit] Exposition

Exposition refers to a fiction story's initial setup, where, variably, setting is established, characters are introduced, and conflict is initiated. For example:

It was a dark and stormy night. The young widow glared at the shadowy man dripping on her kitchen floor. "I told you my husband's not home," she said.

He smiled a rictus smile and shut the door behind him. "Tell me something I don't know."

[edit] Foreshadowing

Foreshadowing is a technique used by authors to provide clues so the reader can predict what might occur later in the story. An author drops subtle hints about plot developments to come later in the story. It prepares the reader for later action and subsequent images so that the reader or spectator is not jarred and verisimilitude is maintained even in science fiction, fantasy, magical realism, and other genres that might otherwise test credulity. If such preparation is recognized as such by the reader or spectator, it may be ineffective and artificial.

[edit] Rising action

The Rising action, in the narrative of a work of fiction, follows the exposition and leads up to the climax. The rising action's purpose is usually to build suspense all the way up the climactic finish. The rising action should not be confused with the middle of the story, but is the action right before the climax. The material beyond the climax is known as the falling action.

[edit] Climax

In a work of fiction, the climax often resembles that of the classical comedy, occurring near the end of the text or performance, after the rising action and before the falling action. It is the moment of greatest danger for the protagonist(s) and usually consists of a seemingly inevitable prospect of failure–it surprises you to the point that gets you excited to see what is to come in the end.

A climax often includes three elements. The most important element is that the protagonist experiences a change. The main character discovers something about himself or herself, and another unknown character. The last element is revealing the theme itself.

[edit] Falling action

The Falling action is the part of a story, usually found in tragedies and short stories, following the climax and showing the effects of the climax. It leads up to the denouement (or catastrophe).^[3] Where the story is settling down and you start to get the climax and where it might be resolved.

[edit] Resolution

Resolution occurs after the climax, where the conflict is resolved. It may contain a moment of final suspense, during which the final outcome of the conflict is in doubt.

[edit] Conflict

Conflict is a necessary element of fictional literature. As Brooks and Warren said in Understanding Fiction and as many others have noted, no conflict, no story. Often it is difficult for readers to discern conflict in sophisticated fiction but its locus is always focused on the protagonist. In order for the story to engage the reader or spectator, the conflict can usually be discerned as immediate, urgent, and insoluble. Furthermore, the conflict that is one between good and evil depends upon whether the reader or spectator prefers good or evil and is thus a slight story at best. It is defined as the problem in any piece of literature and is often classified according to the nature of the protagonist or antagonist, as follows:

Types of conflict[link]

There are five basic types of conflict. In ancient cultures Person vs. Fate often constitute the conflict of the story; however, so many people today believe they are in charge of their own destiny that few stories of this ilk can be found. In modern times, Person vs. Machine, also known as Person vs. Technology, has become another one.^[4]

Person vs. self[link]

Person vs. Self is the theme in literature that places a character against their own will, confusion, or fears. Person vs. Self can also be where a character tries to find out who they are or comes to a realization or a change in character. Although the struggle is internal, the character can be influenced by external forces. The struggle of the human being to come to a decision is the basis of Person vs. Self. Examples include the titular character of Beowulf. More recently, the Academy Award winning movie A Beautiful Mind has been posited as an application of Person vs. Self. Faulkner in his Nobel Prize acceptance speech noted that the great stories are those of the human heart in conflict with itself. With that in mind the other conflicts enumerated here can fade into the background as part of the setting rather than the conflict-in-itself of any given story. A simple, ready example may be Jack London's "To Build a Fire" wherein we can see that the conflict is not Man vs. Nature but Man vs. His Own Nature.

Person vs. person[link]

Person vs. Person is a theme in literature in which the main character's conflict with another person is the focus of the story. An example is the hero's conflicts with the central villain of a work, which may play a large role in the plot and contribute to the development of both characters. There are usually several confrontations before the climax is reached. The conflict is external. An example is the conflict between Judah and Messala in Ben-Hur, as would be the conflict between a bully and his victim.

Person vs. society[link]

Person vs. Society is a theme in fiction in which a main character's, or group of main characters', main source of conflict is social traditions or concepts. In this sense, the two parties are: a) the protagonist(s); b) the society of which the protagonist(s) are included. Society itself is often looked at as a single character, just as an opposing party would be looked at in a Person vs. Person conflict. This can also be one protagonist against a group or society of antagonists or society led by some antagonistic force. Examples in literature would include the short story "The Ones that Walk away from Omelas" by Ursula Le Guin or the novel Wuthering Heights by Emily Brontë.

Person vs. nature[link]

Person vs. Nature is the theme in literature that places a character against forces of nature. Many disaster films focus on this theme, which is predominant within many survival stories. It is also strong in stories about struggling for survival in remote locales, such as Gary Paulson's Hatchet or Jack London's short story "To Build a Fire".

Person vs. supernatural[link]

Person vs. Supernatural is a theme in literature that places a character against supernatural forces. When an entity is in conflict with him-, her-, or itself, the conflict is categorized as internal, otherwise, it is external. Such stories are often seen in Freudian Criticism as representations of id vs. superego. Bram Stoker's Dracula is a good example of this, as well as Frankenstein by Mary Shelley and Christabel by Samuel Coleridge. It is also very common in comic books.

Person vs. machine/technology[link]

Person vs. Machine/Technology places a character against robot forces with "artificial intelligence". I, Robot (the film) and the Terminator series are good examples of this conflict.

Character[link]

Characterization is often listed as one of the fundamental elements of fiction. A character is a participant in the story, and is usually a person, but may be any personal identity, or entity whose existence originates from a fictional work or performance.

Characters may be of several types:

• Point-of-view character: The character from whose perspective (theme) the audience experiences the story. This is the character that represents the point of view the audience empathizes, or at the very least, sympathies with. Therefore this is the "Main" Character.
• Protagonist: The driver of the action of the story and therefore responsible for achieving the story's Objective Story Goal (the surface journey). In western storytelling tradition the Protagonist is usually the main character.
• Static character: A character who does not significantly change during the course of a story.
• Dynamic character: A character who undergoes character development during the course of a story.
• Foil: The character that contrasts to the protagonist in a way that illuminates their personality or characteristic.
• Supporting character: A character that plays a part in the plot, but is not major
• Minor character: A character in a bit/cameo part.

Methods of developing characters[link]

• Appearance explains or describes the character's outward appearance so the readers can picture them, and identify them relative to other characters.
• Dialogue is what characters say and how they say it.
• Action is what characters do and how they do it.
• Reaction of others is how other characters see and treat a main character.

[edit] Symbolism

Symbolism is the applied use of symbols: iconic representations that carry particular conventional meanings.

The term "symbolism" is limited to use in contrast to "representationalism"; defining the general directions of a linear spectrum – where in all symbolic concepts can be viewed in relation, and where changes in context may imply systemic changes to individual and collective definitions of symbols. "Symbolism" may refer to a way of choosing representative symbols in line with abstract rather than literal properties, allowing for the broader interpretation of a carried meaning than more literal concept-representations allow. A religion can be described as a language of concepts related to human spirituality. Symbolism hence is an important aspect of most religions.

The interpretation of abstract symbols has had an important role in religion and psychoanalysis. As envisioned by Sigmund Freud and Carl Jung, symbols are not the creations of mind, but rather are distinct capacities within the mind to hold a distinct piece of information. In the mind, the symbol can find free association with any number of other symbols, can be organized in any number of ways, and can hold the connected meanings between symbols as symbols in themselves. Jung and Freud diverged on the issue of common cognitive symbol systems and whether they could exist only within the individual mind or among other minds; whether any cognitive symbolism was defined by innate symbolism or by the influence of the environment around them.

[edit] Metaphor

Metaphor (from the Greek language: Meaning "transfer") is language that directly compares seemingly unrelated subjects. It is a figure of speech that compares two or more things not using like or as. In the simplest case, this takes the form: "The [first subject] is a [second subject]." More generally, a metaphor is a rhetorical trope that describes a first subject as being or equal to a second object in some way. Thus, the first subject can be economically described because implicit and explicit attributes from the second subject are used to enhance the description of the first. This device is known for usage in literature, especially in poetry, where with few words, emotions and associations from one context are associated with objects and entities in a different context. A simpler definition is the comparison of two unrelated things without using the words "like" or "as".

The term derives from Greek μεταφορά (metaphora), or "transference",^[5] from μεταφέρω (metaphero) "to carry over, to transfer"^[6] and that from μετά (meta), "between"^[7] + φέρω (phero), "to bear, to carry".^[8]

Types of plots[link]

[edit] Chronological order

All of the events occur in the text in the order they happen. There may be references to events from the past or future, however the events are written in time order. There are no flashbacks or flash-forwards.

[edit] Flashback

In history, film, television and other media, a flashback (also called analepsis) is an interjected scene that takes the narrative back in time from the current point the story has reached. Flashbacks are often used to recount events that happened prior to the story's primary sequence of events or to fill in crucial backstory. Character origin flashbacks specifically refers to flashbacks dealing with key events early in a character's development (Clark Kent discovering he could fly, for example, or the Elric brothers' attempt to bring back their mother). The television show Lost is particularly well known for extensive use of flashbacks in almost every episode. In the opposite direction, a flashforward (or prolepsis) reveals events that occur in the future. The technique is used to create suspense in a story, or develop a character. In literature, internal analepsis is a flashback to an earlier point in the narrative; external analepsis is a flashback to before the narrative started.

[edit] Setting

Setting, the location and time of a story, is often listed as one of the fundamental elements of fiction. Sometimes setting is referred to as milieu, to include a context (such as society) beyond the immediate surroundings of the story. In some cases, setting becomes a character itself and can set the tone of a story. (Rozelle 2005, p. 2)

[edit] Theme

Theme, a conceptual distillation of the story, is often listed as one of the fundamental elements of fiction. It is the central idea or insight serving as a unifying element, creating cohesion and is an answer to the question, 'What did you learn from the piece of fiction?' In some cases a story's theme is a prominent element and somewhat unmistakable. (Morrell 2006, p. 263)

[edit] Style

Style is not so much what is written, but how it is written and interpreted. Style in fiction refers to language conventions used to construct the story or article. A fiction writer may manipulate diction, sentence structure, phrasing, dialogue, and other aspects of language to create style or mood. The communicative effect created by the author's style is sometimes referred to as the story's voice. Every writer has his or her own unique style, or voice (Provost 1988, p. 8). Style is sometimes listed as one of the fundamental elements of fiction.

Writer Philip Roth defined the "sensuous aspects of fiction" as "tone, mood, voice, and, among other things, the juxtaposition of the narrative events themselves".^[9]

Categories[link]

Types of prose fiction:

• Flash fiction: A work of fewer than 2,000 words. (1,000 by some definitions) (around 5 pages)
• Short story: A work of at least 2,000 words but under 7,500 words. (5–25 pages)
• Novelette: A work of at least 7,500 words but under 17,500 words. (25–60 pages)
• Novella: A work of at least 17,500 words but under 50,000 words. (60–170 pages)
• Novel: A work of 50,000 words or more. (about 170+ pages)
• Epic: A work of 200,000 words or more. (about 680+ pages)^{[n 1][n 2]}

Forms of fiction[link]

Traditionally, fiction includes novels, short stories, fables, fairy tales, plays, poetry, but it now also encompasses films, comic books, and video games.

The Internet has had a major impact on the distribution of fiction, calling into question the feasibility of copyright as a means to ensure royalties are paid to copyright holders. Also, digital libraries such as Project Gutenberg make public domain texts more readily available. The combination of inexpensive home computers, the Internet and the creativity of its users has also led to new forms of fiction, such as interactive computer games or computer-generated comics. Countless forums for fan fiction can be found online, where loyal followers of specific fictional realms create and distribute derivative stories. The Internet is also used for the development of blog fiction, where a story is delivered through a blog either as flash fiction or serialblog, and collaborative fiction, where a story is written sequentially by different authors, or the entire text can be revised by anyone using a wiki.

Uses of fiction[link]

Although fiction may be viewed as a form of entertainment, it has other uses. Fiction has been used for instructional purposes, such as fictional examples used in school textbooks. It may be used in propaganda and advertising. Although they are not necessarily targeted at children, fables offer an explicit moral goal.

A whole branch of literature crossing entertainment and science speculation is science fiction. A less common similar cross is the philosophical fiction hybridizing fiction and philosophy, thereby often crossing the border towards propaganda fiction. These kinds of fictions constitute thought experiments exploring consequences of certain technologies or philosophies.

See also[link]

Main list: Outline of fiction

• Fictional character
• Fiction writing
  • Fan fiction
  • Mary Sue
• Pseudohistory
• Writing style
• Non-fiction
• Paranoid fiction
• History of fiction
• Creative nonfiction

Notes[link]

Footnotes[link]

Citations[link]

External links[link]

Find more about Fiction on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	Quotations from Wikiquote

Daniel Radcliffe
Radcliffe at Make Believe On Broadway, 23 November 2011
Born	Daniel Jacob Radcliffe (1989-07-23) 23 July 1989 (age 22) London, England
Occupation	Actor
Years active	1999–present

Daniel Jacob Radcliffe (born 23 July 1989) is an English film and stage actor who rose to prominence playing the title character in the Harry Potter film series.

Radcliffe made his acting debut at age ten in BBC One's 1999 television movie David Copperfield, followed by his film debut in 2001's The Tailor of Panama. At age eleven he was cast as the title character in the first Harry Potter film, and he starred in the series for ten years until the release of the eighth and final film in July 2011. He also began to branch out to stage acting in 2007, starring in the London and New York productions of the play Equus and in the 2011 Broadway revival of the musical How to Succeed in Business Without Really Trying. In addition, he starred in 2007's December Boys and the 2012 hit horror film The Woman in Black. He will play beat poet Allen Ginsberg in 2013 indie film Kill Your Darlings.

Radcliffe has contributed to many charities, including Demelza House Children's Hospice and The Trevor Project. He has also made public service announcements for the latter. In 2011, he was awarded the Trevor Project's "Hero Award".

Early life and education[link]

Radcliffe was born on 23 July 1989 in West London, England,^[1] the only child of Alan George Radcliffe, a literary agent, and Marcia Jeannine Gresham (née Marcia Gresham Jacobson), a casting agent who was involved in several films for the BBC, including The Inspector Lynley Mysteries and Walk Away And I Stumble.^[2][3] Radcliffe's mother is Jewish and a native of Westcliff-on-Sea, Essex;^[3][4] his father, originally from Northern Ireland, is Protestant.^[5] He was raised without religion.^[6] Radcliffe first expressed a desire to act at the age of five,^[7] and in December 1999, aged ten, he made his acting debut in the BBC One's televised two-part adaptation of the Charles Dickens novel David Copperfield, portraying the title character as a young boy.^[8]

Radcliffe was educated at two independent schools for boys:^[9] at Sussex House School, a day school in Cadogan Square in Chelsea in London,^[10] followed by the City of London School,^[11] a day school on the North Bank of the River Thames in London's financial district, known as the City of London.

Following the release of the first Harry Potter movie, attending school became hard for Radcliffe, with some fellow pupils becoming hostile. Radcliffe said it was people just trying to "have a crack at the kid that plays Harry Potter" rather than jealousy.^[12] As his acting career began to consume his schedule, Radcliffe continued his education through on-set tutors. He admitted he was not very good at school, considered it useless, and found the work to be "really, really difficult";^[9] however, he did achieve A grades in the three A-levels that he sat in 2006, but then decided to take a break from education and did not go to college or university.^[13] Part of the reason was that he already knew he wanted to act and write, and that it would be difficult to have a normal college experience. "The paparazzi, they’d love it," he told Details magazine in 2007. "If there were any parties going on, they’d be tipped off as to where they were".^[12]

Career[link]

[edit] Harry Potter

Radcliffe at the July 2009 premiere of Harry Potter and the Half-Blood Prince

In 2000 producer David Heyman asked Radcliffe to audition for the role of Harry Potter for the film adaptation of Harry Potter and the Philosopher's Stone, the best-selling book by British author J. K. Rowling.^[14][15] Rowling had been searching for an unknown British actor to personify the character; however, Radcliffe's parents did not want him to audition for the role, as the contract required shooting all seven films in Los Angeles, California, and so they did not tell him.^[16] The movie's director Chris Columbus recalled thinking, "This is what I want. This is Harry Potter", after he saw a video of the young actor in David Copperfield.^[16] Eight months later, and after several auditions, Radcliffe was selected to play the part.^[17] Rowling also endorsed the selection saying, "I don't think Chris Columbus could have found a better Harry."^[18] Radcliffe's parents originally turned down the offer, as they had been told that it would involve six films shot in Los Angeles.^[19] Warner Bros. instead offered Radcliffe a two-movie contract with shooting in the UK though,^[16] when signing up, Radcliffe was unsure if he would do any more pictures.^[20]

The release of Harry Potter and the Philosopher's Stone (released as Harry Potter and the Sorcerer's Stone in the United States) took place in 2001. The story follows Harry, a young boy who learns he is a wizard and is sent to Hogwarts School of Witchcraft and Wizardry to begin his education; gaining the help of friends Ron (Rupert Grint) and Hermione (Emma Watson) along the way. Radcliffe received a seven figure salary for the lead role, but asserted that the fee was "not that important" to him;^[21] his parents chose to invest the money for him.^[16] The film broke records for opening-day sales and opening-weekend takings, becoming the highest–grossing film of 2001. With a total of US$974 million in ticket sales, Philosopher's Stone stands as the second most commercially successful in the series behind Harry Potter and the Deathly Hallows – Part 2, the final instalment.^[22] The adaptation was met with positive reviews and critics took notice of Radcliffe:^[23] "Radcliffe is the embodiment of every reader's imagination. It is wonderful to see a young hero who is so scholarly looking and filled with curiosity and who connects with very real emotions, from solemn intelligence and the delight of discovery to deep family longing," wrote Bob Graham of the San Francisco Chronicle.^[24]

Handprints, footprints and wand prints of (from left to right) Watson, Radcliffe, Grint.

A year later Radcliffe starred in Harry Potter and the Chamber of Secrets, the second instalment of the series. Reviewers were positive about the lead actors' performances but had polarised opinions on the movie as a whole. Stephen Hunter of the Washington Post labelled it "big, dull and empty".^[25] Observing that Radcliffe and his peers had matured, Los Angeles Times's staff writer Kenneth Turan believed the novel's magic could not be successfully duplicated in the film.^[26] Nonetheless, it still managed to earn US$878 million, taking the second spot of the highest-grossing 2002 films worldwide behind The Lord of the Rings: The Two Towers.^[27]

The 2004 release Harry Potter and the Prisoner of Azkaban was the third film in the series. While garnering the highest critical acclaim of the series at that point^[23] and grossing US$795.6 million worldwide, the film's performance at the box office ranks the lowest in the series.^[22] Radcliffe's performance was panned by New York Times journalist A. O. Scott, who wrote that Watson had to carry him with her performance.^[28] Next was Harry Potter and the Goblet of Fire in 2005. The film set records for a Harry Potter opening weekend, as well as for a non-May opening weekend in the US and in the UK.^[29] The film eventually grossed US$896 million worldwide, and the film was the second-highest grossing Harry Potter film at that point.^[30] In a 2005 interview, Radcliffe singled out the humour as being a reason for the movie's creative success.^[31]

Despite the success of the previous three movies, the future of the franchise was put into question when all three lead actors were unsure about signing on to continue their roles for the final two episodes; however, by 2 March 2007 Radcliffe had signed for the final films, which put an end to weeks of press "speculation that he would be denied the role due to his involvement in Equus".^[32] Radcliffe reprised his role for the fifth time in Harry Potter and the Order of the Phoenix (2007), which details Harry's return to Hogwarts after his encounter with Lord Voldemort in the previous film. It opened to positive responses from the press;^[23] IGN movie critic Steven Horn found Order of the Phoenix to be one of "those rare films that exceeds the source material"^[33] and Colin Bertram of New York's Daily News dubbed it the best movie in the series.^[34] Radcliffe stated that director David Yates and actress Imelda Staunton made Order of the Phoenix the "most fun" film in the series to work on.^[35] His performance earned several award nominations, and he received the 2008 National Movie Award for "Best Male Performance".^[36] As his fame and the series continued, Radcliffe, Grint and Watson left imprints of their hands, feet, and wands in front of Grauman's Chinese Theatre in Hollywood.^[37]

In July 2009 Harry Potter and the Half-Blood Prince was released, the series' sixth instalment. The film did considerably better than the previous movie, breaking the then-record for biggest midnight US showings with US$22.2 million at 3,000 theatres,^[38] and was the biggest ever Wednesday-opening in the UK, with US$7.6 million at 1,305 screens.^[39] Half-Blood Prince achieved a total of US$933 million ticket sales^[22] and was one of the most positively reviewed of the series among film critics, who praised the film's "emotionally satisfying" story, direction, cinematography, visuals and music.^[40][41][42] Radcliffe received nominations for "Best Male Performance" and "Global Superstar" at the 2010 MTV Movie Awards.^[43]

Radcliffe, Watson and Grint at the Deathly Hallows – Part 2 premiere in London.

For financial and scripting reasons the last book was divided into two films, shot back to back,^[44][45] which drew criticism from the series' fanbase. Radcliffe defended the split, pointing out that it would have been impossible to properly adapt the final novel into a single film.^[46] He added that the last movie was going to be extremely fast-paced with a lot of action, while the first part would be far more sedate, focusing on character development; he added that, had they combined them, those things would not have made it to the final cut.^[47] Filming lasted for a year, concluding in June 2010 and on the last day of shooting, like most of the cast and crew, Radcliffe openly wept.^[48] Harry Potter and the Deathly Hallows – Part 1 (2010) was about Harry, Ron and Hermione leaving Hogwarts to track down Lord Voldemort's Horcruxes, objects Voldemort has left part of his soul inside. The film was released in November and grossed over US$950 million.^[22] Its most lucrative territory was the UK, where it reportedly had the highest-grossing three-day opening in history; while its earnings of US$205 million, in 91 markets, made it the highest ever top-grossing non-US opening for a non-summer picture, and "the fourth-biggest-grossing international opening ever".^[49] The movie received mostly favourable reviews in the media.^[23]

The final film, Harry Potter and the Deathly Hallows – Part 2, was released worldwide starting on 13 July 2011 in Australia. The film concerns the battle against Voldemort's followers in Hogwarts, along with Harry's final climactic duel with Voldemort. Radcliffe, along with the film,^[23] was critically acclaimed: Ann Hornaday of The Washington Post asked, "Who could have predicted that Radcliffe, Grint and Watson would turn out to be good actors?";^[50] similarly, Rex Reed said: "Frankly, I’m sorry to see [Radcliffe] go";^[51] while Rolling Stone critic Peter Travers commented on Radcliffe: "Well played, sir."^[52] Among those who were less favourable, Roger Ebert said that Radcliffe, Grint and Watson were "upstaged by the supporting [actors]".^[53] The film broke several box office records, including biggest midnight release,^[54] biggest first-day opening,^[54] and biggest opening-weekend.^[55] Deathly Hallows – Part 2 is currently the third-highest grossing film in the world, and the highest-grossing non-James Cameron film, with more than US$1.3 billion worldwide.^[56] Radcliffe admitted that some people would never be able to separate him from the character, but also said he is "proud to be associated with this film series forever."^[57] Despite positive feelings about the movies, he has no interest in doing more Harry Potter films. After Rowling hinted about writing an eighth book, Radcliffe was asked if he would do another film to which he replied: "[It is] very doubtful. I think 10 years is a long time to spend with one character."^[58] Despite devoting so much time to the series, Radcliffe has asserted that he did not miss out on a childhood like other child actors: "I’ve been given a much better perspective on life by doing Potter."^[59]

2001–2009[link]

Radcliffe at December Boys premiere in 2007

Radcliffe made his film debut in The Tailor of Panama, an American 2001 film based on John le Carré's 1996 spy novel, and a moderate commercial success.^[22] In 2002 he made his stage debut as a celebrity guest in a West End theatre production of The Play What I Wrote, directed by Kenneth Branagh—who also appeared with him in the second Harry Potter film.^[8][60] In 2007 he appeared in the film December Boys, an Australian family drama about four orphans that was shot in 2005 and released to theatres in mid-September 2007.^[61] Also in 2007, Radcliffe co-starred with Carey Mulligan in My Boy Jack, a television drama film shown on ITV on Remembrance Day. The film received mostly positive reviews,^[62] with several critics praising Radcliffe's performance as an 18-year-old who goes missing in action during a battle.^[63][64][65] Radcliffe stated, "For many people my age, the First World War is just a topic in a history book. But I've always been fascinated by the subject and think it's as relevant today as it ever was."^[66]

Radcliffe in Theatre District, New York, 13 December 2008

At age 17, in a bid to show people he was not a kid any more,^[1] he performed onstage in Peter Shaffer's play Equus, which had not been revived since its first run in 1973, at the Gielgud Theatre.^[16] Radcliffe took on the lead role^[60] as Alan Strang, a stable boy who has an obsession with horses. Advance sales topped £1.7 million, and the role generated significant pre-opening media interest, as Radcliffe appeared in a nude scene.^[16][67] Equus opened on 27 February 2007 and ran until 9 June 2007.^[60] Radcliffe's performance received positive reviews^[68] as critics were impressed by the nuance and depth of his against-type role.^[69] Charles Spencer of The Daily Telegraph wrote that he "displays a dramatic power and an electrifying stage presence that marks a tremendous leap forward." He added: "I never thought I would find the diminutive (but perfectly formed) Radcliffe a sinister figure, but as Alan Strang ... there are moments when he seems genuinely scary in his rage and confusion."^[70] The production then transferred to Broadway in September 2008, with Radcliffe still in the lead role.^[71][72] Radcliffe stated he was nervous about repeating the role on Broadway because he considered American audiences more discerning than those in London.^[73] Radcliffe's performance was nominated for a Drama Desk Award.^[74]

2010–present[link]

After voicing a character in an episode of the animated television series The Simpsons in late 2010,^[75] Radcliffe debuted as J. Pierrepont Finch in the 2011 Broadway revival How to Succeed in Business Without Really Trying, a role previously held by Broadway veterans Robert Morse and Matthew Broderick.^[76] Other cast members included John Larroquette, Rose Hemingway and Mary Faber.^[77] Both the actor and production received favourable reviews,^[78] with USA Today commenting: "Radcliffe ultimately succeeds not by overshadowing his fellow cast members, but by working in conscientious harmony with them – and having a blast in the process."^[79] Radcliffe's performance in the show earned him Drama Desk Award, Drama League Award and Outer Critics Circle Award nominations.^[80][81][82] The production itself later received nine Tony Award nominations.^[83] Radcliffe left the show on 1 January 2012.^[84]

His first post-Harry Potter project was the 2012 horror film The Woman in Black, adapted from the 1983 novel by Susan Hill. The film was released on 3 February 2012 in the United States and Canada, and was released on 10 February in the UK. Radcliffe portrays a man sent to deal with the legal matters of a mysterious woman who has just died, and soon after he begins to experience strange events and hauntings from the ghost of a woman dressed in black.^[85] He has said he was "incredibly excited" to be part of the film and described the script as "beautifully written".^[86] Radcliffe's godson Mischa, the son of Thea Sharrock, who co-directed the revival of Equus with Radcliffe, portrayed Arthur's son in the film.^[87] Variety has confirmed Radcliffe will star in the indie comedy The Amateur Photographer, a film adaptation of the book of the same name, directed by Christopher Monger. Set in 1970, it follows a man (Radcliffe) who discovers his calling after being drafted by the residents of a small English mill town to serve as a photographer for their most personal moments.^[88]

He is set to portray Allen Ginsberg in the upcoming thriller drama Kill Your Darlings, directed by John Krokidas.^[89][90]

Personal life[link]

In 2008, Radcliffe revealed that he suffers from a mild form of the neurological disorder dyspraxia. The motor skill disorder sometimes gets so bad that he has trouble doing simple activities, such as writing or tying his own shoelaces. "I was having a hard time at school, in terms of being crap at everything, with no discernible talent," Radcliffe commented.^[91] In August 2010, he stopped drinking alcohol after finding himself becoming too reliant on it.^[92]

In 2012, Radcliffe stated, "I think of myself as being Jewish and Irish, despite the fact that I’m English."^[6] He has also said, "I'm an atheist, and a militant atheist when religion starts impacting on legislation",^[93] and that he is "very proud of being Jewish".^[94][95][96]

Radcliffe is a supporter of the Labour Party.^[97] Until 2012 Radcliffe had publicly supported the Liberal Democrats,^[98] and before the 2010 UK General Election Radcliffe endorsed Nick Clegg, the Lib Dem leader. In 2012, however, Radcliffe switched his allegiance to Labour, citing disappointment with the performance of Nick Clegg and the Lib Dems in government, and approving of the Labour leader, Ed Miliband.^[99] At the age of sixteen, Radcliffe became the youngest non-royal ever to have an individual portrait in Britain's National Portrait Gallery (NPG). On 13 April 2006 his portrait, drawn by Stuart Pearson Wright, was unveiled as part of a new exhibition opening at the Royal National Theatre; it was then moved to the NPG where it resides.^[100]

He is a fan of underground^[101] and punk rock music,^[102][103] and is a keen follower of cricket, including cricketer Sachin Tendulkar.^[104][105] Writing short stories and poetry is also a passion.^[106] In November 2007 Radcliffe published several poems under the pen name Jacob Gershon — a combination of his middle name and the Jewish version of his mother's maiden name Gresham — in Rubbish, an underground fashion magazine.^[96][106] He enjoys a close friendship with his fellow Harry Potter co-stars Tom Felton^[101] and Emma Watson,^[107] and is tight-knit with his family, whom he credits for keeping him grounded.^[108]

Radcliffe at the film premiere of Harry Potter and the Deathly Hallows – Part 1 in Alice Tully Center, New York City in November 2010.

Speaking out against homophobia, Radcliffe began filming public service announcements in 2009 for The Trevor Project, promoting awareness of gay teen suicide prevention.^[109][110] He first learned of the organisation while working on Equus on Broadway in 2008^[110] and has contributed financially to it.^[111] "I have always hated anybody who is not tolerant of gay men or lesbians or bisexuals. Now I am in the very fortunate position where I can actually help or do something about it," he said in a 2010 interview. In the same interview, he spoke of the importance of public figures advocating for equal rights.^[110] Radcliffe considers his involvement to be one of the most important things in his career and,^[109] for his work for the organisation, he was given the "Hero Award" in 2011.^[109]

Radcliffe has supported various charities. He designed the Cu-Bed for Habitat's VIP Kids range (a cube made of eight smaller ones which can be made into a bed, chaise-longue or chair)^[112] with all the royalties from the sale of the bed going directly to his favourite charity, Demelza House Children's Hospice in Sittingbourne, Kent.^[113] Radcliffe has urged his fans to make donations, in lieu of Christmas presents to him, to the charity's Candle for Care program. In 2008 he was among several celebrities who donated their old glasses to an exhibit honouring victims of the Holocaust.^[114] During the Broadway run of Equus he auctioned off a pair of jeans he wore in the show for "thousands of dollars", as well as other items worn in the show, for the Broadway Cares/Equity Fights AIDS "a New York-based nonprofit HIV/AIDS grant-making organisation".^[115] He has also donated money to Get Connected UK, a London-based free confidential national helpline for troubled youth.^[116]

Sources disagree about Radcliffe's personal wealth; he was reported to have earned £1 million for the first Harry Potter film^[21] and around £15 million for the sixth.^[9] Radcliffe appeared on the Sunday Times Rich List in 2006, which estimated his personal fortune to be £14 million, making him one of the richest young people in the UK.^[117] In March 2009 he was ranked number one on the Forbes "Most Valuable Young Stars" list,^[118] and by April The Daily Telegraph measured his net worth at £30m, making him the 12th richest young person in the UK.^[119] Radcliffe was considered to be the richest teenager in England later that year.^[9] In February 2010 he was named the sixth highest paid Hollywood male star^[120] and placed at number five on Forbes's December list of Hollywood's highest-grossing actors^{[note 1]} with a revenue of US$780 million, mainly due to Harry Potter and the Deathly Hallows being released that year.^[121] Despite previous predictions that Radcliffe would have amassed £70m by the time the Harry Potter series concluded,^[119] the actor was reported to only have a wealth of £28.5 million in 2010. This still makes him richer than Princes William and Harry.^[122] Despite his wealth, Radcliffe has said he does not have expensive tastes and that his main expense is buying books: "I read a lot."^[123] He also stated that money would never be the focus of his life.^[9]

In January 2012, Radcliffe said he was in a relationship with production assistant Rosie Coker.^[124]

Filmography[link]

Film[link]