a mountain journey exposition

A Mountain Journey | Summary & Analysis

Summary of a mountain journey by howard o’hagan.

“A Mountain Journey”  by  Howard O’Hagan  is a short story written from an  omniscient limited third point of view . The story tells the adventure of  Dave Conroy , a  trapper  (a person who traps animals for their fur and meat), as he makes his way from the  Snake Indian River trail  to the  Hoodoo cabin  on  Hoodoo Creek . On the way when he is descending from the pass he falls into an air hole and his feet and hands suffer frostbite as a result. Conroy however does not stop and continues on his way only to find the cabin burned down when he reaches there. By this time Conroy’s feet and had had been frozen to such an extent that he couldn’t even start a fire. Even then Conroy decided to go to  Terrace Creek  where there was another cabin. On the way to the Conroy falls from exhaustion and the narrative ends as if Conroy is dying. The story is a  realistic depiction  of cold mountains where traveling alone is a matter of great courage and skill. Conroy seems to be talented and strong enough to do that yet his desire to get out of the cold snow surpasses his  rational judgment  which leads to his death.  Hagan  expresses Conroy’s tale with descriptions that make the reader feel as if they are trapped in the mountains by the burned cabin.

A Mountain Journey | Summary

The story starts with  Dave Conroy’s  narrative as he arrives at the pass that would lead him to the  Hoodoo cabin . He had been climbing from the lower  Smokey  since the morning and had just reached the pass. He was very tired and he still had to travel five miles further to reach the cabin. He had his pack with him and had carried it out up to the pass. He was remembering the tree he had passed earlier which could have made a nice camping spot where he would not have to worry about sleeping on the snow. According to him when a man was alone he would travel too far and always rush things even though the difference of a day or two would make no difference.

Once Conroy reached the pass the only thing left for him was to go  down the slope . Up on the pass, the air was heavy with mist and cold and Conroy was starting to feel abandoned as it had been a long time since he had come across any human establishment. He adjusted the poles and started going down the mountain along with the velocity. The air was sharp and bit at Conroy’s face and as he looked at the scenery the ice suddenly broke under his feet. He fell into the river which cracked by his force and the water seeped into his boots and gloves. 

He had fallen into an  air hole . His skis had ice on them. Conroy thought he should stop right now, make a fire warm himself, and continue on the journey tomorrow. Already the sun was setting and soon it would be night. He still had to travel three more miles to reach the cabin. But he did not listen to his reasoning and continued to walk on even though he was in pain. When he reached the cabin he was frozen to find the cabin burned down. It had been destroyed by the fire probably caused by a stray match when the previous occupants used it. 

The next cabin was located at  Blue   Creek ,  eighteen miles  from his current location. He knew that he did not have enough strength to go there. He decided to stay the night there and thought of using the wood from the cabin to start a fire. As he took out the matchbox to do that, he realized that he couldn’t feel his hands and legs. They had been frozen to such an extent that he could not even feel if he had them anymore. He tried to strike the matchstick but he failed to do that. He always believed that mountain travel was not dangerous as long as a man knew how to take care of himself. It was only his fault that he froze himself. As stood there trying to bring some warmth to his hands and feet he remembered about  Duncan Macdonald  who had walked thirty miles to the railroad on frozen feet only to have them amputated by the doctor.

Conroy was however not ready to give up and decide that his feet and hands were no longer frozen. He was desperate to such an extent that he thought of even setting the whole forest ablaze just to get some warmth. But his hands were not cooperating with him. Finally, Conroy understood the gravity of the situation and thought about his only chance. The  railroad was eighty miles away , a journey  of four days , something that Conroy could not cross. Another option was the  Terrace Creek located through a pass into the Moose River. There Frank MacMoran, a trapper, had his cabin and could shelter him. 

He crossed the river and trudged towards the slope that would lead him to the Moose. He climbed up the peak passing through the forest of timers. By this time night was fast approaching and he decided to rest on the ground for just a few minutes. But by the time he woke up, he was lying on the ground at night. Above him, in the moonlight, the mountains stretched endlessly and Conroy still had to travel  six hundred miles  more. Conroy tried to get up but his strength failed him and he decided to rest for a bit more.

When he finally woke up it was already morning. Conroy was covered in snow which he could not remove from himself due to his weakness. He was so weak that he started to  hallucinate . He saw a cabin and heard the river streaming down. Then he remembered his predicament and started hoping that someone would come for him. He even believed that they were just by the  Hoodoo cabin  and would come for him. However, no one came and now the sum was now starting to hurt him he felt the light fading.

A Mountain Journey | Analysis

The story has been written in the style of  realistic fiction  as it describes the  dangerous journey  taken by  David Conroy . The  story’s main focus  is  the harsh conditions  of the weather as Conroy tries his best to  win against them . However, due to Conroy’s  lack of critical thinking , he ends up hurting himself and ends up lying in the snow helplessly while his strength fades away from him. 

The  protagonist  of the story is  Dave Conroy  and the  antagonist  is the  weather . Conroy tries to win against it his entire journey but eventually, he has to give in as he is unable to move from exhaustion. Hence the story uses the weather as a lesson to show the might of nature and that man is helpless against it. Conroy tries to fight as long as he can but eventually, he has to give in to it as he is trapped in his hallucinations.

Hagan  has written the story in a very  descriptive style  where it feels as if one is reading  a poem  about  mountain landscapes . The  detailed explanation and natural imagery  provide the reader with a feeling as if they were themselves present there and traveling along Conroy. In this way, the story becomes much more  interactive  even though it never provides a clear ending.

The story has used plenty of  foreshadowing  and  plot twists  which adds tension to the story. This makes the story more like a  travel vlog  where the main character, here Dave Conroy, goes along his way showing the scenery to the readers along with him. The  open-ended ending  of the story indicates that perhaps the author is trying to tell his readers to anticipate the  resolution  themselves. This provides the story with  various   interpretations  which adds to the beauty of it as with this kind of ending for someone maybe Conroy survived and help came for him or for someone else he was killed. In this, the technique of using an incomplete ending adds to the  richness  of the story.

  A Mountain Journey | Themes

 The  main theme  of this story is  man versus nature  as well as  man versus self . Dave Conroy is an  experienced traveler  and trapper who has made many hikes in the mountains. He is  skilled  enough to know which paths he has to take to reach the different cabins located throughout the trail. Despite knowing all of this he manages to lose his way when he tries to reach the  Terrace Creek . This is because Conroy was so focused on getting warmth that even when he fell into an air hole and was frozen he chose not to stop and rest but continued on his way. He simply  assumed  that his hands and feet were not affected by the cold even though later he could not even feel them anymore. This shows Conroy’s  arrogance   towards   nature  where he wanted to prove that he could maneuver around the mountain with his  knowledge  alone. However, he eventually loses to nature as he reaches the Hoodoo cabin only to find it completely burned down. In this sense, the mountains become  symbolic  of the  power   of   nature  and the way human beings are powerless against it.

The story also focuses on the conflict that  Conroy has with himself . From the very beginning even though he knew he should have stopped by the tree to rest there, he ignored his  reasoning  himself and continued onward. After this, he fell into a stream, and even though the most  rational  thing to do at that time was to set camp there for the night he never listened to the  voice in his head  and instead went on. Only did he reached the cabin did he realize his mistake but by that time it was too late and the only option he had left was to continue forward otherwise he would freeze to death.

Hence the story focuses on the  forces of nature  and man’s  incapability  to fight them or tame them.

A Mountain Journey | Character Sketch

The main character of this story is  Dave Conroy  who struggles against the cold snowy winds as he finds his way across the mountains. He is a  professional trapper  who has been to the mountains countless times yet  his pride  makes him unable to say no even though he can see that the hike will be difficult for him like the time he fell into an air hole and his hands and feet were frozen. This makes Conroy a  gullible person  who cannot say no in case of his  ego  which ends up in his dying on his way to the  Terrace Creek .

A Mountain Journey | Literary devices

The story has several literal devices like  simile  where Hagan describes  the snow  as “ white and soft as flour ,” also in the instance where he compares tea to wine “ tea red and strong as rum ”. He also used  personification  to describe the mist as it covered the whole slope of the mountain, “ Mist, like the shadow of universal darkness on the treeless summit, moved about him, searched every crevice of the mountain land, roamed in great billows, formed in the blindness and suffering of eternal homelessness.”  He even  personified the tree  Conroy had passed by earlier which foreshadows his fate as he walks along to find Hoodoo cabin by describing it as “ That tree, like a strong and lonely woman, called to his weary body to stop. ” By using those  figures of speech  the story becomes much more interesting.

The story is a great example of being  courageous in the face of hardships  but at the same time, it also highlights the way the  limit  to one should  endure   hardships  otherwise it ends up becoming a source of problems instead of a solution.

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How to Use the Plot Mountain to Help Students Master Story Elements

• January 24, 2022

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I love teaching fiction! I find that my students are always so engaged in the reading and excited to participate during our mini-lessons. However, just because they are engaged and excited, it doesn’t mean that they instantly “get” it. Plot can be one of those skills that seems so simple, but then an assessment comes, and you are not sure why your students failed it. I have found that the best way to teach about plot is to use the plot mountain. 

I have included free interactive notebook pages and printable anchor charts to teach plot in English and Spanish in this blog post. Click here to get them! You can also read more about how I use anchor charts in my classroom by clicking here.

What is a plot mountain?

A plot mountain is a visual model that helps students understand how a fictional story unfolds. All fictional stories follow a predictable pattern: exposition, rising action, climax, falling action, and conclusion. This pattern can be easily demonstrated to students through a plot mountain diagram. 

Parts of the plot mountain

During the exposition, the author is introducing the reader to the characters and setting. This lays the foundation for the story that is about to unfold. 

It is like being at the base of a mountain. You are looking around and assessing where you are and who is with you. You are asking yourself, “What is the terrain like? How long will be climb be? Do we need any special equipment?” You are gathering all the information you need as you get ready to begin your climb. 

Rising Action/Problem

During the rising action, the author introduces the problem or conflict. The conflict is what drives the story. There is no story without a conflict – at least not a good one! And once that problem is introduced, the characters must push through until they find a way to solve it. 

Now let’s compare this to climbing a mountain. As you go up the mountain, you begin to encounter problems: you are tired, your legs hurt, you are thirsty… you don’t yet see the other side (i.e. the solution.) But you must push through in order to reach your destination.  

The climax of a story is the turning point! I like to tell my students that the climax is when the character has reached his “breaking point.” He has lost all hope – nothing seems to work! And then, suddenly, something happens in the story that changes its trajectory. The character can begin to see a way to solve his problem. 

Using our mountain analogy, this would be the peak. Although your problem is not yet solved (your legs still hurt, you are still tired and thirsty), you now have hope. You can begin to see the end of the journey (i.e. the solution to your problems!) 

Falling action/resolution 

The falling action is the journey towards solving the problem. It is when the character takes the actions that will bring an end to the conflict. Maybe the character apologizes for what he did. Maybe he changes his attitude about something. Maybe he confronts his greatest fear. Whatever it is, the character is finally able to solve his problem. 

In our mountain plot, this would be the descent. As we move down the mountain, we are walking towards the solution (reaching the bottom of the mountain.) We are taking the necessary steps to bring our problem to an end. 

The conclusion is what happens after the problem is solved. It is the “and they lived happily ever after” of the story. The author will often go beyond the solution to show how the problem has impacted and changed the characters. 

Going back to our mountain analogy, the conclusion is when we reach the bottom of the mountain. We are now on the other side. We can look back at all we went through and everything we learned along the way. More often than not, we will be able to identify lessons that were learned throughout the journey. 

Why should you teach students to use the plot mountain?

The plot mountain is, in my opinion, the best visual model to use with your students. The analogies I mentioned earlier in the blog post are the same analogies I use with my own students. This visual model makes it easy for students to see how each part of the text fits together to create one cohesive storyline. 

I know many teachers use the model of a rollercoaster to teach their students about plot. I have used that model many times in the past, and don’t get me wrong, it is a great one. However, I find it easier to make connections between the plot of a story and climbing a mountain than plot and riding a rollercoaster. 

Riding a rollercoaster implies that the character is just “along for the ride.” But the reality is that characters make choices throughout the story. Those choices lead to the development of the story. Choosing to climb a mountain and what you do in the process is much more in line with that development. 

I know this may seem silly but think about it. Using the plot mountain visual model gives you more opportunities to discuss characters and their choices. More importantly, you get to talk about how those choices affect the story. This is why we study plot! We want students to understand how the story elements interact with one another. I especially want my students to see how character interactions and choices impact what happens next. And the plot mountain is just perfect for that! 

Story elements and the plot mountain

I have been talking about story elements throughout this blog post. Story elements are the important pieces that make up a fictional story. These parts include characters, setting, problem, and solution. So how do these two things go together? Here is how I teach and reinforce story elements using the plot mountain model. 

Teach each story element in isolation first 

In order to use a plot mountain diagram, students must know what characters, setting, problem, and solution are. I take one week to teach each of these story elements. (I teach problem and solution together in the same week.)  

Use the plot mountain to show students how the elements fit together 

Once students have learned about these elements in isolation, we begin to talk about plot. Plot is when all of these elements come together to form a story. Using the plot mountain mental model, we dive deep into the text. We talk about the importance of the setting, and how it affects the story. We discuss the characters, and how they interact. We look at how a character’s actions and motivations drive the problem and the solution. Without knowing what these elements are in isolation, it would be nearly impossible for students to put this all together.

Diving deep into the story and understanding why the story unfolds as it does is the ultimate goal. Therefore, it is important to take the time to bring the elements together using the plot mountain model. We want students to see how each one of these parts fits together to create a great story.  

My five-step plan to teach plot using the plot mountain

What I am about to share with you is a five-step plan to teach plot. Please, keep in mind that this does not mean the plan can be done in five days. I often spend more than five days in my own classroom. Depending on your students, how much time you have, and even your grade level, you may need to break these down into smaller steps or spend more than one day in each step. Some steps can even be combined and done on the same day. These are just five things I want you to consider as you prepare your lessons.  

Step 1: Introduce the mental model

The first thing I do when teaching plot is to introduce the mental model: the plot mountain. This is the star of the show! I explain the model and how it relates to a story using the analogies I mentioned earlier in this blog post. 

As I introduce the model, we create a plot mountain anchor chart together. My students also take notes in their interactive notebooks. I always use anchor charts and interactive notebooks when teaching a new reading skill. (Click here for FREE printable anchor charts and interactive notebook pages to teach plot in English and Spanish.) I think it is crucial to create anchor charts with your students and teach them about notetaking. 

When I first introduce the mental model, we do not look at any stories. At this point, I am explicitly teaching them about the parts of a story, how they go together, and how they relate to the plot mountain. 

Step 2: Plot a story together 

Once my students know what the plot mountain is and how it relates to fictional stories, we begin plotting a story together. For this lesson, you have many options. You can use a picture book, a short passage, or even a PIXAR short film. The key word is short! When I first introduce plot, I look for simple, short stories with one problem and solution. We will talk about more complicated stories in the future, but right now I want to keep it short and simple. 

We use the plot mountain anchor chart to plot our story together. I use sticky notes to write down each part of the story and sticky it onto the anchor chart in the appropriate place. This is a whole group collaboration, so I give students lots of opportunities to turn and talk to a partner. 

Step 3: Hand it over to your students 

Try it out with a group .

Once we have plotted a story (or two) together, it is time for my students to take the wheel. I like to start by putting students in groups of three. Each group gets a copy of a short story. You can give the same story to every single group, or you can give different stories for differentiation. I have done it both ways depending on the needs of my students. 

I like to give each student in the group a specific job. One is the reader, one is the writer, and one is the captain. Assigning jobs helps me make sure that everyone is actively engaged in the activity. 

To make things a little more fun, I give each student a large piece of bulletin board paper or an anchor chart paper. They draw a plot mountain and label each part. If they are not sure how to label it, they can look at their notes or the plot mountain anchor chart we created together. The students then read the story and identify each part by writing it onto the plot mountain graphic organizer they created. 

Pair it up! 

To give my students another chance to practice plotting a story using the plot mountain, I like to give them another day to work with a partner. This time, I give each student a printable plot mountain graphic organizer. Students take turns reading the story and filling out the graphic organizer. At this point, I like to have each student fill out their own graphic organizer even though they are working with a friend. Sometimes, I will even add a couple of questions about the story for students to answer.  

Step 4: Dig deeper – How does each individual event in the story impact the next?

This is my favorite step when teaching plot using the plot mountain model! As I mentioned earlier, the main goal is for students to understand how each story element interacts within the story. This is really tricky! Students are not used to thinking about the “what ifs” of a story. 

• What if the character didn’t behave this way? 
• What if the problem was different? 
• Why is it important to the story that __________ behaved this way? 
• How does __________’s actions affect the story?

However, this is the type of deep thinking we want our students to achieve when they read. When our students begin to interact with the text in this way… that’s when the magic happens!!! 

But how can we make this happen in our classroom? How do we teach our students to think about the “what ifs?”

Movies to the rescue! 

My secret weapon to guide my students to this type of deep, focused thinking is to use a movie they are familiar with. At this point, I want to remove the obstacle of reading. I am asking students to think very hard right now, so I want to level the playing field. When I choose a movie they have all watched multiple times, there is familiarity. And with familiarity comes comfort and automaticity. 

In the past, I have always used the movie Frozen. I only use a section of the movie – from the beginning until the point when Elsa runs away to the North Mountain after revealing her magical powers. I print out still shots from key events in the story. Then, I randomly tape each picture to the board. 

How did it happen?

I choose one volunteer to come to the board. With the help of the class, this student moves the pictures around to sequence the story correctly. Once the student is done, we review it. Chances are, the story is perfect. If it is not, go ahead and make changes. Now, get ready for the magic. 

What would happen if…?

Now that the story is sequenced, I go to the board and remove one of the pictures. I explain to students that by removing one key event, the rest of the story will change. Depending on the class, I may model this entire process the first time with a think-aloud. I can see my students’ eyes open wide as I do this. They immediately get it! 

I repeat this process with them at least five times. Turn-and-talks are a must during this process. As my students are talking to their partners, I am walking around and listen in. If I hear any misconceptions, I address them immediately. By the time we are done with this activity, my students have a solid understanding of how events in a story are interconnected.  

Step 5: Give it a new twist! 

Now that my students understand how events in a story are interconnected, it is time to practice with some writing. Bloom’s taxonomy of educational objectives places “creating” at the highest point in the hierarchy. When students create, they are employing higher-order thinking skills. For this reason, I like to end any unit of study with an activity that gives my students the opportunity to create something new, often through writing. 

To solidify students’ understanding of the plot mountain, I like to give them a final activity in which students will be required to reimagine the problem in a story they have recently read. 

How does it work?

We begin this lesson by choosing a story students want to work on. I allow my students to work with a  partner for this activity. That means they must agree on the same story. Then, students use a plot mountain graphic organizer to identify the different parts of the story. 

Once students are done plotting the story, I ask them to brainstorm ideas for a new problem. After choosing their best idea, students work on rewriting the rest of the story. I remind students that the events must line up in a way that makes sense and moves the story towards a resolution. Once students are done, they share their stories with the class. 

Connect it to writing 

This activity is a great opportunity to teach students about fiction writing. After all, reading and writing go together. In fact, students could continue working on these stories during your writing block even after you are done teaching them about plot in reading. They could work on revising, editing, and publishing their reimagined stories. There are so many opportunities for learning with this simple but effective activity. 

Teaching students to use the plot mountain visual model is a highly effective way to help your students master story elements. More importantly, the plot mountain will help students understand the pattern of fictional stories and its predictability. But best of all, students will be able to gain a greater understanding of the story if they can see how each event is interconnected. I just can’t say enough good things about it! 

Will you be trying the plot mountain mental model in your classroom? Let me know in the comments. And don’t forget to grab your FREE plot mountain anchor charts and interactive notebook pages in English and Spanish. 

Happy teaching! 

You may also like:

• How to Use Anchor Charts in Your Classroom
• How to teach inferring so your students actually understand it!
• Five Simple and Effective ideas on how to teach themes to 3rd, 4th, and 5th graders

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I help upper elementary dual language teachers with resources and ideas that promote bilingualism and biliteracy.  

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• Scriptwriting

What is a Story Mountain — How to Tackle Story Structure

• What is The Three Act Structure
• What is Freytag’s Pyramid
• What is a Story Mountain
• Joseph Campbell’s Hero’s Journey
• What is Save the Cat
• Dan Harmon’s Story Circle
• What is Exposition
• What is an Inciting Incident
• What is Rising Action
• What is the Climax of a Story
• What is the Falling Action
• What is Denouement
• Write Your Script For Free

W hat does every story have in common? They all have a beginning, middle, and end. Obviously, writing and storytelling is more complex than simply laying out a beginning, middle and end. But simplifying those plot structures into clear stages can help with brainstorming and organizing your ideas as a writer. This visual guide of plot points is usually called a story mountain.

Watch: Three-Act Structure Explained

Subscribe for more filmmaking videos like this.

What is a Story Mountain template? 

First, let’s define a story mountain.

So what is a story mountain? Narratives about hiking? Not quite. Let’s nail down a definition for the term, before looking at some story mountain templates.

STORY MOUNTAIN DEFINITION

What is a story mountain.

A Story Mountain or story map helps visualize and understand the series of incidents in a plot. Represented visually as a mountain, these stories build to a climax or obstacle that needs to be overcome, before being resolved and ‘ending’ on the other side of the mountain.

Story Mountain Structure:

• Exposition 
• Conflict/Rising Action

Falling Action

As you can see, a story mountain is inextricably linked to plot . A plot is the organized pattern or sequence of events that make up a story. Every plot is made up of a series of incidents that are related to one another. 

All those events can be illustrated in a story mountain. Here’s a story mountain template: 

Story mountain template

Let’s take a closer look into each plot point, and see them more clearly with clips and examples from some of your favorite TV shows and movies. Learning about these different components of what makes up a plot will help you in crafting more compelling narratives . 

Plot Mountain Example

Exposition in a plot mountain.

Exposition usually occurs at the beginning of a story and is when the characters are introduced, and we usually learn about the setting of a story. Thus, most of it is located in the “background” section of a story mountain.

There are many different techniques filmmakers use to show exposition. The 5 main ones are: 

Dialogue 

Dialogue between two or more characters allows for simple and effective exposition in a single scene.

Narration 

Narration, or voice over , is a way to communicate a character’s true thoughts and desires, or give insight into what’s happening.

Mise-en-scène

Mise-en-scène is the arrangement of scenery and stage properties in a play. Translated from French, it means "setting the stage" but, in film analysis, the term mise en scene refers to everything in front of the camera, including the set design, lighting, and actors. Mise en scene in film is the overall effect of how it all comes together for the audience. 

Mise en scene elements include:

Costumes 

Actor blocking

Shot composition

Text or title cards

This is the most straightforward technique. Text or title cards can contain all the relevant information your audience will need to know, before the film even begins. What movies that use this technique come to mind? Here’s one particularly famous example:

Star Wars opening titles

There are multiple ways to show past events in a present narrative, but flashbacks are the most visual as they place your character in context (versus having the characters or narrator relate the event, also known as showing vs telling). 

What famous movies or TV shows can you think of that use flashbacks to tell the character’s story? Lost   is one of the most acclaimed shows to rely on flashbacks for plot development.  

Let’s look at the best movie example of exposition. The Up opening montage is deemed by film critics to be a masterclass in narrative exposition. The film opens with a series of images that guide us through main character Carl Fredriksen’s relationship with his wife. In the span of just a few dialogue-free minutes, we experience Carl and Ellie’s joy, love, and loss over the many years. It’s devastating and memorable. Check it out below:

Up exposition opening montage

If you can still read through your tears, let’s continue to our next plot points.

Conflict and Rising Action

In a story mountain template, conflict spurs rising action . A conflict and rising action are introduced and the protagonist ’s journey begins. There is usually an inciting incident and rising action that takes place. A plot mountain literalizes “rising action”– the line rises to its peak.

Take a look at Little Red Riding Hood as a plot mountain example:

Story mountain example

In this story mountain example, the rising action is when Little Red Riding Hood meets the wolf– conflict is established.

One movie conflict and rising action that comes to mind is the scene from Finding Nemo where Marlin witnesses a scuba diver kidnap his son, Nemo. This moment of conflict set the stage for the rest of the story where Marlin painstakingly searches for Nemo. 

Here’s a 2 minute summary of Finding Nemo that narrates all the major plot points: 

 Finding Nemo plot explained

The story mountain is usually done as a basic diagram, but is useful in the early stages of writing to best organize your characters and motives. 

Plot Story Mountain

Plot mountain climax .

Climax is the term used to refer to the part of a story where the tension or action reaches its highest point. This follows the rising action and precedes the falling action. In story mountain examples, this is, as you might imagine, the peak.

You can probably think of some pretty great movie or TV show climaxes. Perhaps one of the most shocking in recent films is that of Shutter Island . At the climax, DiCaprio's character is revealed in a bait and switch twist to be the true villain of the story - and his entire character is a charade. 

Check out the reveal in Laeta Kalogridis’ screenplay, which we imported into StudioBinder’s screenwriting software :

Shutter Islan Climax Scene

It’s a masterful scene, where Teddy, along with the audience, slowly sees the entire story unravel. This reveal starts with Chuck’s entrance, and Kalogridis emphasizes this by putting his name in all caps and underlining it.

Now, watch the scene below to see how it was translated onto the screen.

Story Mountain Falling Action

The falling action of a story is the section of the plot that follows the climax. It’s the backside of the mountain.

The falling action decreases tension of the central conflict, moving the story forward toward its conclusion. Characters use falling action to settle into whatever has changed in the climax, and to slowly work their way to resolving internal and external conflicts .

The falling action helps resolve the problem in the climax and the resolution completes the story. Let’s use Titanic as an example. In the film, the falling action is when Jack and Rose escape the sinking ship and find a floating door from the interior of the sinking ship, which helped them float together. There is still drama in the falling action, as Jack dies before the resolution, in which Rose is rescued. 

If you’re interested in learning about a more complex narrative structure, read about the Story Circle . Hollywood writer Dan Harmon describes his 8 step story structure of a protagonist's journey, sort of similar to a story mountain, but with more detail. Check it out a video explanation below:

                                                What is a Story Circle?  •   Subscribe on YouTube

No matter what shape you use, visualizing your story can help you make sense of how your plot is functioning. 

What is the Three Act Structure? 

There are other forms of plot structure, like the Three Act Structure. This article goes into more about this narrative model that screenwriters use as an organizational tool to help build stories. 

Up Next: What is the Three Act Structure? →

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What is a Story Mountain?

...and how do you use one.

What is a story mountain?

A story mountain is a fantastic framework used to help students visualise the structure of a story. The sections step students through important parts of the plot in creating a standard ‘story arc’ or ‘ hero’s journey ’.

Take a minute to think about the most recent fiction book you read or a captivating recount that a friend told you. Did it start by setting the scene, move into recognising a problem, cast you through a series of escalating events, before magically coming to some form of resolution and lesson learnt?

We’re surrounded by content that would slot straight into a story mountain framework (okay, maybe sometimes you would need a few extra boxes). But the point stands.

Our students need support with making the explicit connection between parts of a story and the stories that they’ve heard.

What are the parts of a story mountain?

The labelling of the parts does vary between templates. For example, you may see any of ‘Beginning’ ‘Exposition’ ‘Orientation’ or ‘Introduction’ used for the start of the sequence and a combination of ‘Falling Action’ ‘Solution’ ‘Resolution’ ‘Ending’ ‘Conclusion’ or ‘Closing’ at the end. Here are the terms I use with my classes:

Rising Action

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Definition of Exposition

Exposition is a literary device that is designed to convey important information, within a short story or novel , to the reader. Writers utilize exposition to provide essential backstory for characters, plot , and other narrative elements. This background information allows the reader of a story to emotionally invest in the narrative’s arc, characters, and action. Exposition also enhances the reader’s understanding of a literary work and encourages their connection to it.

Though exposition is a fairly straightforward literary device, writers must finely balance revealing too little in terms of information or sharing too much detail. Either extreme can result in confusion and frustration for the reader.

For example, in the short story “Death By Scrabble,” Charlie Fish delivers a great deal of exposition in the very first line:

It’s a hot day and I hate my wife.

This statement reveals a significant amount of information at the outset about the story’s atmosphere as well as the emotional state and mindset of the narrator . However, rather than alienating the reader with too much background information, Fish’s bold exposition entices the reader to continue reading the story to learn what events are to come and why the narrator “hates” his wife.

Common Sources of Exposition in Writing

As a literary device, the purpose of exposition is to provide background information about one or more characters, the story’s setting , plot events, or other narrative elements. In relaying this backstory, the reader achieves greater enjoyment and understanding of the story and its meaning. Here are some common sources of exposition in writing so that readers are given sufficient information:

• description of setting (when and/or where the story takes place)
• Dialogue /conversation among characters
• Character ’s expressed thoughts and/or observations
• Story ’s point of view
• Narrator ’s direct description or telling
• secondary sources of information (such as a letter, diary, newspaper, etc.)
• overheard conversation and/or argument within a story
• emotional state of a character
• Character ’s response to events and/or plot points in the story

Common Examples of Exposition in Well-Known Tales

All narratives require exposition so that the reader has enough information and context in order to understand the story. Folk and fairy tales , in particular, require exposition so that their unusual characters make sense and the fantastical plots have meaning. Without such expository information, the storylines would be inaccessible in terms of understanding. Here are some common examples of exposition in well-known tales:

• Snow White : The queen is obsessed with being beautiful and consumed with jealousy over Snow White’s greater beauty .
• Goldilocks and the Three Bears : Papa Bear, Mama Bear, and Baby Bear leave their home in the woods unlocked.
• Cinderella : Cinderella is good and kind, unlike her stepsisters.
• The Princess and the Pea : The “pea” is a test to determine the authenticity of a princess.
• The Tortoise and the Hare : The hare is overconfident about winning the race.
• Jack and the Beanstalk : Jack and his mother are very poor and have just one cow to sell for money.
• Little Red Riding Hood : The title character is warned not to speak to strangers.
• The Sleeping Beauty : The sleeping spell can only be broken by a true love’s kiss.
• Chicken Little : It was an acorn that fell on the title character’s head.
• The Emperor’s New Clothes : The “tailors” are charlatans.

Methods of Conveying Exposition

Writers have choices in the methods they use to convey exposition in a story or novel. Ideally, so that the reader’s experience is interesting and meaningful, a writer should not limit themselves to just one manner of relaying information. Here are the most common methods of conveying exposition:

Narration is a simple and direct method of conveying exposition. The narrator of a story or novel has the role of revealing information to the reader, including exposition. The type of narration influences the way such background information is relayed or dispensed. For example, an omniscient narrator can “see” everything in the world of the story as well as into each character’s thoughts and emotions, and can thereby provide any information about any character or aspect of the story at any time. A first person narrator, however, should only be able to convey any backstory or emotional information in a limited way.

Dialogue between characters is an effective method to convey exposition. An exchange of words can introduce important background information in a natural and unforced way within a story. Dialogue is an indirect way of incorporating critical details in expository writing. Conversation and even argument allows a writer to illuminate backstory and context for the reader to achieve greater understanding of the narrative, plot, characters, etc, in a story or novel. However, it’s essential for writers to avoid overusing dialogue as a method of exposition since this can overwhelm and/or bore the reader in addition to appearing forced and unnatural.

Internal Monologue

A character’s internal monologue is another effective method of conveying exposition. An internal monologue allows a character to express their innermost thoughts and feelings to the reader in a candid manner. This provides revealing elements and insight in terms of the character themselves, other characters, and perceptions of events in the story.

Examples of Exposition in Literature

In literature, exposition conveys information that advances the plot of a story and provides insight into characters. This literary device requires an artistic touch so that writers offer their readers enough necessary context for understanding a story without overwhelming them with tedious or inessential detail. Here are some examples of exposition in literary works:

Example 1:  Sonny’s Blues (James Baldwin)

When he was about as old as the boys in my classes his face had been bright and open, there was a lot of copper in it; and he’d had wonderfully direct brown eyes, and a great gentleness and privacy. I wondered what he looked like now . He had been picked up, the evening before, in a raid on an apartment downtown, for peddling and using heroin.

In Baldwin’s work of short fiction , the narrator provides necessary information about his brother Sonny so that the reader is able to understand the conflict and tenuous relationship portrayed in the story. Since the narration is in the first person, readers are offered exposition about the characters and events through the point of view of the protagonist . This establishes an intimacy in terms of the thoughts and feelings of the narrator. However, the expository information is also limited to the narrator’s knowledge, experience, and understanding within the story.

In this passage, the narrator reminisces about the physical characteristics of his young brother as well as Sonny’s perceived innocence as a child. This provides exposition in terms of who Sonny was, in his brother’s memory, and creates a stark contrast to who Sonny has become–an addict and convict. The narrator’s expository observation reveals information about himself in addition to Sonny. The reader learns from this passage that Sonny’s brother remembers him in detail and with fondness as a child. Yet, the narrator divulges that he doesn’t know what Sonny currently looks like. This gives the reader insight into the complex relationship between the brothers and the potential conflict to ensue in the story.

Example 2:  The Giver  (Lois Lowry)

“But why can’t everyone have the memories? I think it would seem a little easier if the memories were shared. You and I wouldn’t have to bear so much by ourselves, if everybody took a part.” The Giver sighed. “You’re right,” he said. “But then everyone would be burdened and pained. They don’t want that. And that’s the real reason The Receiver is so vital to them, and so honored. They selected me – and you – to lift that burden from themselves.”

In Lowry’s novel, the reader is provided limited expository information as the story and significance of this fictional world unfolds. This enhances the suspense of the plot as well as the novel’s unexpected twists in action. The above passage is an example of exposition through dialogue between the characters of Jonas and The Giver. As Jonas asks more questions of The Giver, the reader develops a greater connection to and understanding of this society and the behavior of its characters. Through expository dialogue, the reader also becomes “The Receiver” of important information and experiences a parallel journey to that of Jonas through the novel. As a result, the story’s meaning and impact is even stronger.

Example 3:  The Ocean at the End of the Lane  (Neil Gaiman)

I was sad that nobody had come to my birthday party, but happy that I had a Batman figure, and there was a birthday present waiting to be read, a boxed set of the Narnia books, which I took upstairs. I lay on the bed and lost myself in the stories. I liked that. Books were safer than other people anyway.

In Gaiman’s short novel, the narrator offers several internal monologues as exposition for the story. This is an effective use of the literary device in that these internal monologues provide insight into the narrator’s character, allowing the reader to connect with his thoughts and feelings. As the narrator re-tells the story of his birthday to himself and the reader, he reveals significant information about his backstory and how it has influenced who he has become. The narrator experiences emotional sadness at the thought that nobody attended his birthday party, a sentiment and experience with which many readers may identify. However, he also reveals his coping mechanism in turning to books and reading for connection, comfort, and safety. This exposition potentially resonates strongly with the reader who, in turn, may feel connection, comfort, and safety along with the narrator in the world of Gaiman’s literary work.

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What Is A Story Mountain In Writing & Screenwriting: Esseential Guide

In the world of writing and screenwriting, a Story Mountain is a pivotal tool that shapes compelling narratives .

It’s a visual plot structure that helps us map out the rise and fall of a story’s action, guiding readers and viewers on an unforgettable journey.

The Purpose Of A Story Mountain

Understanding the purpose of a Story Mountain clarifies its relevance in the realms of writing and screenwriting.

Simply put, it serves as a foundation for structured storytelling, ensuring that narratives don’t meander but instead grip audiences with a clear progression.

The Story Mountain aids in developing compelling plots by mapping out key moments in the narrative.

By providing this structure, writers can focus on enhancing character development and refining pivotal scenes to maintain the viewer’s engagement.

• Prevents stagnation – by dictating the rise and fall of action, the Story Mountain stops stories from becoming static or uneventful.
• Guides emotional impact – it helps pinpoint where audiences should feel tension, excitement, or relief, enhancing the overall emotional journey.

In the context of filmmaking, the Story Mountain is especially crucial.

With screen time at a premium, it’s imperative that each scene advances the story effectively, maintaining a pace that captivates the viewer from the opening scene to the final moments before the credits roll.

Plot points detailed on a Story Mountain ensure that screenwriters have clear milestones to work towards.

This not only aids in the creation of tight scripts but also facilitates the production process, as directors and producers can pre-visualize the film’s trajectory and prepare accordingly.

• Clarifies narrative goals – story mountains provide tangible targets for narrative highs and lows.
• Facilitates revision – as a visual tool, it allows writers to quickly assess and tweak their story’s pacing and distribution of key events.

It’s an invaluable tool for any writer, but particularly for those in the competitive world of film where each moment on screen must count.

By adhering to the rising and falling action that a Story Mountain dictates, filmmakers can produce stories that resonate deeply with their audience and stand the test of time.

Understanding The Structure Of A Story Mountain

The Story Mountain isn’t just a metaphor; it’s a blueprint for building the architecture of a narrative.

At its core, it embodies five crucial stages of storytelling – these stages are pivotal touchstones that guide the progression of our characters and plot.

– Exposition – We establish the setting, introduce main characters and reveal the starting situation.

• Rising Action – Conflict begins to unfold, challenges arise, and stakes are set higher.
• Climax – Our characters face their greatest challenge, resulting in the most intense point of the story.
• Falling Action – Consequences of the climax unfold and tension decreases.
• Resolution – Characters grasp the outcome of their journey, though it’s not always what they anticipated.

Examining a film like The Matrix , the Story Mountain becomes evident through the systematic building of action as Neo discovers the true nature of reality, culminating in his transformation into “The One.

” It’s this structure that grips audiences, holding their attention through emotional highs and lows.

Implementing the Story Mountain in screenwriting is fundamental to our script’s success.

The tight narrative control it offers us ensures we’re providing clear plot points and character arcs that serve the story and resonate with audiences.

Fluency in this framework allows us to craft a storyline that flows effortlessly even though its carefully plotted course.

Understanding the ebb and flow of narrative tension is essential.

Our scripts must grip viewers from start to finish, like a thrilling roller coaster designed with intentionality.

A well-constructed Story Mountain helps us maintain pacing and dramatic tension at every turn.

The Elements Of A Story Mountain

While crafting narratives for the screen, understanding the key components of a Story Mountain is paramount .

This model is vital for scriptwriters to create compelling and emotionally engaging tales.

Exposition introduces the characters, setting, and the story’s initial situation.

It’s the groundwork upon which the entire narrative will develop.

In The Matrix, we’re plunged into a perplexing reality where the protagonist is just as baffled as we are.

Rising Action forms the bulk of the narrative, where tension and complications build.

This phase introduces smaller crises that propel the plot forward.

For instance, Neo’s gradual acceptance of his role in The Matrix is fraught with trials and confrontations.

At the peak is the Climax , the moment of highest tension and drama.

This turning point is often a confrontation between the protagonist and antagonist.

In our case, Neo’s encounter with Agent Smith serves as an explosive and revelatory climax.

Following the climax is the Falling Action , where the immediate repercussions of the climax unfold.

It leads us toward the story’s closure.

Here the characters might grapple with the climax’s outcomes or tie up loose ends.

Finally, the Resolution rounds out the narrative arc, resolving any remaining subplots or questions.

It provides closure and often, a glimpse into the future of the storyworld.

Utilizing a Story Mountain effectively ensures that the story hits all the necessary emotional beats.

Here’s a quick rundown of its advantages –

• It structures the script around clear plot points.
• It guides character development and arcs.
• It maintains pacing and dramatic tension consistently.

By integrating these elements, we cultivate stories that captivate audiences and withstand the test of time.

Our focus is always on forging an enthralling journey for viewers, from the comfort of their seats right up to the edge – and holding them there, spellbound, as the narrative unfolds in unexpected, yet deeply satisfying ways.

How To Use A Story Mountain In Writing

Applying the Story Mountain to writing is quite straightforward once you’ve grasped its structure.

We’ll look at the framework within the context of writing a screenplay.

First , you’ve got the exposition.

This is where you’ll lay the groundwork for your story – introducing the characters, setting, and initial conflict.

Second comes the rising action.

Here the stakes begin to escalate and the tension builds.

It’s the bulk of your screenplay where characters struggle, face obstacles, and the audience becomes hooked.

Moving on, the climax is where the tension hits its highest point.

The main character faces their greatest challenge, often resulting from the rising action.

Next, the falling action allows for the aftermath of the climax to unfold.

It’s where characters process and the story begins to wrap up.

Finally, we have the resolution – not the end, but the tying up of loose ends.

It’s where the journey concludes, and the new norm is established for the characters.

Here’s a quick breakdown using Lord of the Rings as an example:

• Exposition – The Shire is introduced; Frodo receives the ring.
• Rising Action – Frodo decides to journey to Mount Doom; faces numerous trials.
• Climax – The confrontation at Mount Doom.
• Falling Action – The destruction of the ring; reaction to the victory.
• Resolution – Return to the Shire; impact of the quest on characters.

Using this structure purposefully in screenwriting helps you keep track of narrative flow and ensure that every element serves the story.

It’s about anchoring scenes to these pivotal moments and reasoning their existence in relation to the larger narrative.

This approach allows for powerful storytelling that resonates with audiences and keeps them engaged throughout the film’s duration.

To properly use the Story Mountain, we must also consider character arcs.

They are the backbone of the story and must evolve with the structure.

Let’s briefly cover how to align character development with the Story Mountain in our next section.

How To Use A Story Mountain In Screenwriting

Crafting a screenplay is akin to building a house.

First, we lay the foundation – that’s our exposition where we set the scene and introduce the characters.

Then, we build the walls, or the rising action, where tension and conflict begin to escalate.

Our climax is the roof, the pivotal turning point that decides the direction of the story.

Finally, we add interior details – falling action – and paint the front door with our resolution, leaving a lasting impression on the audience.

When applying the Story Mountain to screenwriting, it’s pivotal we understand our characters’ motives.

Every action on the Story Mountain must be driven by the characters’ desires and fears, aligning their arcs with the various stages of the story.

By doing this, we ensure that the events are not only exciting but also deeply personal and engaging to the audience.

The key to a successful screenplay is not just building a Story Mountain but knowing when to navigate it.

As we approach our screenplay’s climax, we escalate the stakes.

What’s at risk if our protagonist fails?

We must make it clear that everything built up to this point could crumble if the climax does not resolve the core conflict.

Screenplays thrive on structure and subtlety.

We use the falling action to release tension, but also to plant seeds that help the audience piece together the story’s deeper meanings.

It’s the thoughtful distribution of these clues throughout that keeps viewers invested and talking long after the credits roll.

The resolution of a story delivers satisfaction.

It’s essential to tie up loose ends without making the wrap-up seem too convenient or far-fetched.

Our goal is to create a conclusion that resonates emotionally and logically with the themes we’ve woven into our screenplay.

Remember, in screenwriting, the Story Mountain is a guide, not a rigid rulebook.

We use it to keep our narrative on track but should always be open to creative deviations that enhance our story’s impact.

After all, some of the most memorable moments in film come from unexpected twists and turns.

Story Mountain Essentials In Writing & Screenwriting – Wrap Up

We’ve explored the Story Mountain’s pivotal role in crafting stories that captivate and resonate.

By mastering its stages and integrating character arcs, we ensure our narratives pulse with life and authenticity.

Remember, while the Story Mountain serves as a stellar blueprint, it’s our creative flair that will truly make our screenplays stand out.

Let’s harness this structure to weave tales that linger long after the credits roll, always willing to bend the rules for the sake of an unforgettable story.

Frequently Asked Questions

What is a story mountain.

A Story Mountain is a narrative framework with five key components — exposition, rising action , climax, falling action, and resolution — used to structure and guide the crafting of compelling stories.

How Does “the Matrix” Exemplify The Story Mountain?

“The Matrix” exemplifies the Story Mountain by following the essential stages: the exposition introduces the characters and setting, rising action builds tension, the climax is the peak of the conflict, falling action star ts resolving the turmoil, and the resolution ties up the story’s loose ends.

Why Is The Story Mountain Important In Screenwriting?

The Story Mountain is crucial in screenwriting because it helps structure the script, ensures effective pacing, maintains dramatic tension, and guides character development, all of which are key to holding the audience’s engagement throughout the film.

Can You Apply The Story Mountain To Any Narrative?

Yes, the Story Mountain can be broadly applied to narratives but using examples like “Lord of the Rings,” the article shows that while the framework benefits screenwriting, it’s also a guide that can accommodate creative deviations to enhance the story.

How Should Characters’ Development Align With The Story Mountain?

Character development should align with the Story Mountain by having characters’ motives and arcs correspond with the varying stages of the story, ensuring a coherent and emotionally engaging progression throughout the narrative.

What Is The Role Of Escalating Stakes In A Story Mountain?

Escalating stakes are pivotal in the Story Mountain, particularly as the climax approaches; they serve to heighten tension, keep the audience invested, and make the story’s peak moments more impactful.

How Should A Resolution Be Handled According To The Story Mountain?

The resolution should efficiently resolve conflicts, offer closure, and tie up story threads without being overly convenient or implausible, ensuring a satisfactory end for the audience.

Is The Story Mountain A Strict Set Of Rules For Storytelling?

No, the Story Mountain is a guide rather than a strict rulebook.

It provides a helpful structure for storytelling but encourages writers to explore creative deviations to enrich the story’s impact.

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Petrozavodsk, Russia

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Hotels, motels and where to sleep.

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Description of Petrozavodsk

Petrozavodsk is a city in northwestern Russia, the capital of the Republic of Karelia. It is the administrative center of Prionezhsky district and forms Petrozavodsk urban district. April 6, 2015 awarded the honorary title of the Russian Federation "City of Military Glory."

 Travel Destinations in Petrozavodsk

Orientation.

The main reference point is the Petrozavodsk railway station, located in the city center on Gagarin Square. Within walking distance from the railway station are the main sights of Petrozavodsk and the embankment of Lake Onega. From the station stretches the main street of the city - Lenin Avenue with a large number of restaurants, cafes and shops. The main administrative buildings, buildings of Petrozavodsk University, as well as various architectural monuments are located on Lenin Avenue. Prospekt Lenina stretches from the railway station and Gagarin Square (above, in the west) to the embankment of Lake Onega (below, in the east). The green embankment of impressive length is notable for the coordinated composition of monuments, the presence of a restaurant and an amusement park in Petrovsky Garden. Karl Marx Avenue is located in the center of the city, connecting the main historical squares of the city - Lenin Square and Kirov Square. The squares attract with architectural ensembles of the 18th-19th centuries and 1950s, monuments, main museums and theaters of Petrozavodsk.

In Petrozavodsk, in June-July, you can observe a unique natural phenomenon - white nights, when the whole night consists of only twilight. 1 City Embankment (Onega Embankment). Pedestrian street along the shore of the Petrozavodsk Bay of Lake Onega. Sculptures donated by sister cities are installed along the street. 2  Monument to Peter I , Petrovsky Square. The monument to the first Russian Emperor Peter I by sculptor Ivan Nikolaevich Schroeder and architect Ippolit Antonovich Monighetti was opened in 1873. 3 Sovereign's Garden (Former Park of Culture and Leisure, Summer Garden, Petrovsky Garden). The oldest park in Russia, founded in 1703. In the park there is a monument-stele to the Petrovsky cannon-casting factories. In the summer there is an amusement park, there are quite new ones, as well as a Ferris wheel, and cafes. 4  Quarter of historical buildings Wikidata element, bounded by the bank of the Neglinka River, Kuibyshev, Fedosova and Malaya Slobodskaya streets. A quarter with stone and wooden historical houses practically on the shore of Lake Onega. The formation of this area began back in the 1970s, and in the course of its development, several dozen houses doomed to demolition were moved here from other parts of the city. In the historical development quarter there are also monuments of cultural heritage: the wooden Holy Spirit Church of the parish of the Transfiguration Church of the Kizhi Island and the building of the Diocesan Administration of the Petrozavodsk and Karelian diocese. 5 Catherine's Church, Volnaya Street, 1. The wooden church in the style of provincial classicism was built in 1878 at the expense of local entrepreneurs in memory of the centenary of the renaming of Petrovskaya Sloboda by Empress Catherine II into the city. In Soviet times, the temple was closed only during the war years and successfully existed until the 2000s, when it was restored. A fire in 2012 damaged the building, but services began again in 2013. The church stands at the Neglinsky cemetery, which arose in 1877 on the site of the abolished Old Believer cemetery. To the west of the fence of the Neglinsky cemetery there is a Jewish cemetery, which has existed since the beginning of the 19th century. 6  Lenin Square (former Round Square). Despite its more than trivial name, the square is a pretty architectural ensemble of the 18th century in the style of Russian provincial classicism and is a monument of history and architecture of federal significance. The memorial complex "Common Grave and the Tomb of the Unknown Soldier with the Eternal Flame" is located in the southeast of the square. In the center of the square there is a monument to V. I. Lenin. The building of the former governor's house built in the late 18th century houses the National Museum. The square adjoins the Governor's Park and Yamka Park. 7 Kirov Square. There is a square and several buildings of architectural monuments of the 18th-19th centuries on the square. It is also the venue for major city events and celebrations. At the beginning of the 20th century, all four main churches of the city were concentrated here, there was a monument to Emperor Alexander II, all of which were lost by 1936. Following this, a monument to the Bolshevik Sergei Mironovich Kirov and the building of the Musical Theater, the reconstructed building of the National Theater of the Republic of Karelia (formerly the Finnish Theater) were built and still stand on the square. In the building of the former Olonets provincial male gymnasium, the Museum of Fine Arts is located on the square. In the park there is a cannon monument in honor of the Alexander Cannon Foundry. In September 2020, the stele "City of Military Glory" was installed in the square. In addition, the urban development between the Kirov and Lenin squares is included in the list of architectural monuments as an example of the ensemble building of the 1950s. Here (along Karl Marx Avenue) there is the Puppet Theatre, three city parks and a boulevard, making this part of the city one of the most pleasant for walking in the city. There is a monument to K. Marx and F. Engels on the avenue. 8 Governor's Park. Adjacent to Lenin Square. It was formed in 1917 after the merger of two private gardens: the garden of the mountain chief (end of the 18th century) and the Governor's garden (1840s). In the center of the park, a monument was erected to the poet and the first civil governor of Olonets Gavriil Romanovich Derzhavin. The park is adjacent to the military memorial complex of the Karelian Front "Alley of Memory and Glory". 9 Holy Cross Cathedral, st. Volkhovskaya, 1 (inside the fence of the Zaretsk cemetery). ☎ 8 (8142) 57-64-59. Cemetery stone four-pillar cathedral with five domes, built in 1848-1852 at the expense of the townspeople. 10 Alexander Nevsky Cathedral. The construction of the cathedral was carried out according to the project of architect Alexander Ivanovich Postnikov under the guidance of engineer Pietro Carlo Maderni in 1826-1832. The icons were painted by the artist A.S. Chizhov. It was built on donations from the artisans of the Aleksandrovsky factory. 11 Stone forest with a quarry-lake. A small park on the southern outskirts of the city. There used to be a stone quarry here, but now it is filled with water.

District Solomennoye

The area is located far from the city center, on the Solomenny Strait (the junction of the Petrozavodsk Bay of Lake Onega and Logmozero Lake). You can get on buses number 8, 14 and 27. 12 Church of the Presentation of the Lord, Yalgubskoye highway 1a (next to the pontoon bridge across the strait). It was originally built in 1775-1781, but then, after a fire in 1913, the temple was forced to rebuild, the construction was carried out according to the project of the architect I. Marushev. The outlines of the church can be seen from the city's embankment. 13 Botanical Garden of PetrSU, st. Botanical (at the very end). ☎ +7 (8142) 765482. Founded in 1951 14  The tract "Devil's Chair" (passage through the Botanical Garden of PetrSU). The rocky tract, a geological monument of nature, is located on the southeastern slope of Mount Bolshaya Vaara, a former volcano.

There are three main museums in the city - the National Museum, the Museum of Fine Arts and the Petrozavodsk Museum "Kizhi", the rest of the museums are either much smaller or work at some enterprises where you need to arrange an excursion in advance. 1 National Museum of the Republic of Karelia, pl. Lenina, 1 (trolleybus: 1, 2, 6 (stop "Hotel Severnaya" and stop "St. Herzen"); bus: 4, 5, 12, 14, 17, 20 - 22, 26, 29 (stop . "Hotel" Severnaya "and stop. "St. Herzen")). ✉ ☎ +7 (8142) 55-96-55. Tue–Sun 10:00–18:00, ticket offices close half an hour earlier. 300 rub. Very good, with a rich collection of exhibits and well-decorated local history museum of the city of Petrozavodsk. It was founded in 1871 by the governor of the Olonets province G. G. Grigoriev. It is located in the building of the former governor's house built in the late 18th century, now a federal architectural monument. 2  Museum of Fine Arts of the Republic of Karelia , Karl Marx Ave., 8. ✉ ☎ +7911-400-38-00. Tue–Wed 10:00–18:00, Thu 12:00–20:00, Fri–Sun 10:00–18:00. 100 rub. It is located in the building of the former Olonets provincial male gymnasium built in 1790, which is a monument of federal significance. The museum's collection is a collection of works of Russian art from ancient iconography of the 15th century to works by contemporary artists, as well as a number of works of foreign art. 3 "Kizhi" Museum, st. Fedosova, 19. ✉ ☎ +7 (8142) 79-98-66. 10:00 - 18:00, closes 2 hours later on Wednesday. Master class 100 rubles, duration 45 min. The “mainland” part of the Kizhi Museum-Reserve is represented by an exhibition dedicated to the historical and cultural heritage of the region. In addition, here you can participate in master classes on creating folk toys, dolls, and interior items. 4  Fund depository of the Kizhi Museum-Reserve  , pl. Kirova, 10a. ✉ ☎ +7 (8142) 79-98-66 (department of exhibitions). Tue, Wed, Thu 10:00 - 18:00, excursions are conducted only by prior request. The depository is located in the building of the former vocational school of the 18th century and has an interesting history associated with the name of K.I. Dmitriev, a prominent Karelian teacher and methodologist, a follower of K.L. During the tour, you can see rarely exhibited items: porcelain, furniture, dishes, household items of the 19th century, Zaonezhskaya wedding dresses and costumes of the 19th - early 20th centuries, samples of archaeological finds, jewelry. 5  Gallery of industrial history , pl. Liteynaya, 1. ☎ +7 (8142) 67-22-99. Tue–Sun 11:00–17:00. for free. The main exposition is devoted to the history of the Petrovsky and Aleksandrovsky factories, as well as the industry of Karelia in the Soviet period. In the hall of interactive exhibits, you can explore the application of the laws of physics and mechanics in industry and everyday life. Registration for a tour by phone. or in the VK group. 6  Museum of the Maritime Historical and Cultural Center "Polar Odyssey" , st. Rigachina, 37 b. ☎ +7 (8142) 73-32-77. Entrance ticket 150 rubles. Tour for groups up to 5 people - 300 rubles per group, tour duration 1-1.5 hours, starts at 10:00, 11:30, 14:00, 16:00, or at any other time for an additional fee. A small museum with a single room, decorated in the form of a ship's cabin, the main exhibits of the museum are historical wooden sailing ships. The tour also includes visits to active sailing ships and veteran ships that have been on long-distance expeditions. All exhibits can be touched, which is usually liked by children. 7  Private art gallery "Doll's House", emb. La Rochelle, 13. ☎ +7 (8142) 77 34 56. Mon-Sat 12:00 - 17:00. 60 rubles, children - 40 rubles. Excursion 100 rubles per group. The museum consists of 3 exhibition halls and workshops where you can look at the author's collection of dolls. Lovely fairytale interior. The museum is interesting, most likely, it will be for children. 8 Museum of the Ministry of Internal Affairs, 18 K. Marx Ave. ☎ +7 (8142) 76-20-58. By collective requests every Tuesday and Thursday. The exposition “History of Law Enforcement in Karelia. 1600-2000 years”, which reflects the history of law enforcement agencies of the republic from the Time of Troubles in the 17th century to the present day. 9 Museum of Precambrian Geology, st. Pushkinskaya, 11 (in the building of the Institute of Geology of the KarRC RAS). ☎ +7 (8142) 78-34-71; 78-27-53. Mon-Fri 10:00 - 17:00. It occupies two halls - on the first and fifth floors of the Institute building. The exhibition is mainly devoted to geology, the world of stones and minerals, the history of the use of natural Karelian stone in architecture. 10 Museum of Communications History, st. Dzerzhinsky, 5 (in the building of the Karelian branch of OJSC Rostelecom). ☎ +7 (8142) 79-42-83 – press service of the company. Excursions are conducted by collective requests on weekdays. The exposition is collected mainly from private collections, these are radio receivers, tape recorders and record playback devices. The oldest exhibit is the 1924 release receiver. 11 Museum of the History of the Petrozavodsk Pedagogical College, per. Student, 14. ☎ +7 (8142) 77-03-72,. Museum and educational classes for students and schoolchildren are held by agreement. They tell about the history of the Pedagogical College, veterans of pedagogical work, the portfolio of a schoolboy of the last century and about gifts to the college museum. 12 Museum of the History of Karelian Sports, 3, Kurgansky proezd. Honored Coaches of Russia”, “Honored Workers of Physical Culture of Russia”, “Sports Judges of the International Category”, “Sports Judges of the All-Union Category”, “Chronology of the Physical Culture and Sports Movement in Karelia from 1918 to 2016.” and etc.

Master classes

13  Center of Traditional Crafts (House of Crafts)  , st. Kirova, 13. ☎ +7 (814 2) 78-30-62. Tue-Fri 10:00 - 19:00, Sat 12:00 - 19:00. Exposition tour and master class 350-380 rubles. The expositions presented are often updated and are mainly devoted to folk art: folk clothes, dolls, embroidery, woodworking. In addition to viewing the exhibits, you can take part in a dozen different master classes: “Karelian souvenir”, Karelian gates, stained-glass windows, weaving, ceramics, beading.

14 Musical Theater of the Republic of Karelia, pl. Kirova, 1. ☎ +7 (8142) 78-43-64, +7 (8142) 78-44-42, +7 (8142) 78-43-68. Tue-Sun. Beginning of evening performances on weekdays - at 19:00, on Saturday and Sunday - at 18:00, daytime - at 11:00. Ticket office: Tue–Sun 13:00–19:00. The theater was founded in 1955, opened on November 5, 1955 with the operetta "Free Wind" by I. Dunayevsky. 15  National Theater of Karelia , K. Marx Ave., 19. ✉ ☎ +7 (8142) 78-26-74. In March 1921, the first national troupe began working in Karelia at the national drama theater. The troupe was organized by Finns from among the revolutionary emigrants. The Karelian National Drama Theater was formed in the fall of 1932 by the national troupe and graduates of the Drama College. 16  Puppet Theater of the Republic of Karelia  , 19 Karl Marx Ave. 17  State Philharmonic  , st. Kirova, 12. ☎ +7 (8142) 76-92-08. The Philharmonic has two orchestras (symphonic and Russian folk instruments) and a quartet of Russian folk instruments "Exprompt". 18  Drama Theater "Creative Workshop"  , st. Kirova, 12 (In the building of the State Philharmonic). ✉ ☎ +7 (8142) 78-05-43, +7 (8142) 76-71-27. On November 16, 1988, on the stage of the National Theatre, the premiere of the performance "The Scaffold" based on the novel by Ch. Aitmatov took place, directed and staged by Ivan Petrov. This day is considered the official birthday of the new drama theater of Karelia - the "Creative Workshop". 19  Non-state author's theater of the Republic of Karelia "Ad Liberum"  , Oktyabrsky avenue, 11. ✉ ☎ +7 (953) 530-98-72. Evening performances start at 19:00 Daytime performances start at 11:00 and 14:00. Formed by the troupe of the Russian Drama Theater in May 2010. Performances are held in the building of the Music School No. 1 named after Gelmer Sinisalo. 20  Basement, amateur chamber theatre, 29 Lenin Ave. (Faculty of Foreign Languages). ✉ ☎ +7 (8142) 78-30-18. Types of creativity. Genres: performances, poetic performances in foreign languages. Cinemas 21 Premier Cinema, 38-v Pravdy Street (in the Premier Culture Center). ☎ Autoinformer +7 (8142) 59-90-30; cash desk +7 (8142) 56-28-58. There are two cinema halls. ✦   Cinemas "Mirage Cinema". ☎ 8 (800) 505-17-85. Multiplex cinemas operating in large shopping centers of the city. 22   Lesnoy Ave., 47 A (in the Lotos Plaza shopping mall). 23   Lenin Ave., 14 (in the mall "Maxi").

Stadiums and sports centers 1 Spartak Stadium, Gertsen Street, 1. Multifunctional stadium with a capacity of 14,500 people. Under the stands of the stadium there are locker rooms, a health center, a gym, a sauna. 2 "Yunost" Stadium, Karl Marx Ave., 4a. ✉ ☎ 8(8142) 785579. Multifunctional stadium with a capacity of 3500 people. The stadium has: a street basketball court, beach volleyball courts, a gym, a children's sports town, and a skate park. 3  Sports complex "Lumi" E, Neglinskaya embankment, 52. ✉ ☎ 8(8142) 77-99-28. 06.00-24.00. Municipal indoor skating rink (ice arena with a total area of 1830 square meters - 61 meters long and 30 meters wide). 4 "Aquatika" water sports center, Pushkinskaya st., 7. ☎ 8(8142) 77-99-28, 76-50-05. 08:00-22:00. Swimming pool, gym, bar, hotel. 5 House of boxing them. Leonid Levin, st. Shotman, 38 A. ✉ ☎ 8 (8142) 74-06-61. The Boxing House regularly hosts city, republican and regional competitions in boxing, Thai boxing, mixed martial arts. 6 Ski center "Kurgan" them. Fyodor Terentyeva, Kurgansky proezd, 1. In winter - skiing, in summer - rollerblading / rollerblading. There is a rental point for skis, roller skates, bicycles. 7 "Fitness Park", Onega embankment. 24/7. for free. A massive platform for a variety of outdoor exercise equipment, along the walking path. Workout with a view of Lake Onega

The settlement arose during the laying of a state-owned weapons factory, originally called Shuisky (the name is associated with the Shuisky churchyard, on the territory of which production was organized), which took place on September 1, 1703. Already in 1704, by the time construction was completed, the plant was renamed in honor of Peter I into Petrovsky. The village that grew up at the factory began to be called Petrovsky Sloboda. In 1777, the settlement received the status of a city with the name Petrozavodsk. In 1941, after the city was occupied by Finnish troops, it was renamed Jaanislinna (Fin. Äänislinna) or Onegaborg (Swedish: Onegaborg Fin., Swedish: "castle on Lake Onega"). After the city was liberated by the Red Army, the name of Petrozavodsk was returned to the city.

Restaurants

It is almost impossible to meet the national Karelian cuisine in the institutions of the city, with the exception of two expensive establishments that position themselves as restaurants with Karelian food - the restaurant at the Karelia Hotel and the Karelian Gornitsa restaurant. In general, regardless of specialization, establishments focus on the low or below average price segment, where truly delicious food is a rarity. But there are a lot of decent coffee houses and bakeries in the city - there will definitely not be any problems with this. Cheap 1 Cafe Petrozavodsk, st. Pravda, 6. ☎ +7 (8142) 57-12-60. Mon–Sun 9:00–22:00. The kitchen-cafe has long and deservedly been respected by Petrozavodsk gourmets. Self-service. 2  Apple Cafe , Karl Marx Ave., 12. ☎ +7 (902) 770-61-07. Mon–Sun 9:00–22:00. Lunch 500-600₽. The dishes are simple, without any frills, but edible. ✦   Cafe-bistro "Deja Vu". 3   Lenin Ave., 20. ☎ +7 (8142) 78-20-85. Mon–Sun 9:00–02:00. 4   st. Friedrich Engels, 10. ☎ +7 (8142) 57-00-77. Mon–Sun 9:00–01:00. 5  Tea house "Anton Palych", st. Kirova, 13. ☎ +7-8142-26-36-29. A cozy cafe in a wooden building of the House of Crafts. Tea, coffee, waffles, sandwiches. 6 "My Food", st. Maksim Gorkogo, 25 (shopping center "Gogolevsky", entrance from Kommunalnaya street). ☎ +7‒921‒727‒10‒50. Mon-Thu 11:00-02:00, Fri-Sat 11:00-07:00, Sun 14:00-24:00. Street food - pita, shawarma, tapas, hot dogs. One of the nicest fast food places in town. 7 "Kahvi & Salaatti" ("Coffee and Salads"), Lenin Ave., 24A. ☎ +7 (8142) 50-33-00. Mon-Fri 8:00 - 23:00, Sat-Sun 10:00 - 23:00. A charming little cafe with a "metropolitan" take on the menu (raf and falafel are included) and a nice Scandinavian-style interior. The price tag is democratic. 8  “Crema Caffe”  , Lenin Ave., 17. ☎ +7 (8142) 26‒36‒29. Mon-Fri 08:00–22:00, Sat-Sun 10:00–22:00. Just a nice coffee shop. Average cost 9 "Bros Burritos" restaurant, st. Friedrich Engels, 10. ☎ +7 (911) 666-42-99. Mon–Sun 11:00–23:30:00. Mexican cuisine. 10  Bavarius Restaurant , Oktyabrsky pr., 13. ☎ +7 (8142) 77-13-23. Mon–Sun 12:00–02:00. meat restaurant. 11  Parizhanka coffee house  , 22 Karl Marx Ave. ☎ +7 (8142) 59-99-55. Mon–Sun 9:00–22:00. Nice interior, polite waiters. In addition to cakes and coffee typical of a coffee shop, there is a large selection of soups, pastas, Asian dishes, sushi. Business lunch is served quickly, ordered dishes - as lucky. ✦  The network of restaurants "Vkusno - and the point." 12   Lenin Ave., 14. ☎ +7 (8142) 35-00-70. Mon–Sun 7:00–23:30. 13   Lesnoy Ave., 47A. ☎ +7 (8142) 79-80-90. Mon–Sun 5:00–4:00 - car, Mon–Sun 07:00–23:30 – room. 14 "Culture" st. Dzerzhinsky, 3. ☎ +7 (8142) 50‒44‒33. Sun-Thu 12:00-01:00, Fri-Sat 12:00-05:00. Hipster place - wine bar, dj sets are played. There is a facer. Almost a nightclub. ✦  KFC restaurant chain. There are no 24-hour KFC restaurants in the city. 15   Lenin Ave., 27. ☎ +7 (921) 010-60-43. Mon–Sun 09:00–23:00. There is a drive (in the operating mode of the hall itself) 16   Lesnoy Ave., 47A. ☎ +7 (921) 010-60-31. Mon–Sun 10:00–21:45. The drive of this restaurant is in the building next to Lotus. 17 Universitetskaya st., 1. ☎ +7 (921) 010-60-12. Mon–Sun 10:00–22:00. Drive when refueling with a small hall. Expensive 18  Restaurant Karelskaya Gornitsa, st. Friedrich Engels, 13. ☎ +7 (8142) 78-53-00. Mon–Sun 11:00–23:00. Main dishes 400-700 rubles and more. They position themselves as a restaurant of traditional Karelian cuisine. The choice of dishes is very limited, there are very few unusual dishes: lohikeitto cream soup, fried bear meat and venison, the rest are very typical dishes like fried fish and mushroom stew. Portions are small. Service - as lucky. 19  "Yagel" , pr. Lenina, 28​. ☎ ++7 (8142) 782104. Mon-Fri 08:00 - 02:00, Sat-Sun 10:00 - 02:00. Northern restaurant.

Cheap To stay in Petrozavodsk, you can relatively inexpensively rent an apartment for rent, but this option requires preliminary work (search through the Internet or a newspaper for free ads). On major holidays, all apartments may be occupied. 1 Hostel "For You", st. Kirova, 8-B. ☎ +7(953)548-00-00. Check-in from 14-00, check-out 12-00. from 400 rubles up to 1800 rub. Nice hostel in the city center. Average cost 2 Hotel "Aquatika", Pushkinskaya st., 7. ☎ +7 (8142) 76-50-04. 1800-2200 rub/day It is located in the city center near the Onega embankment. Some rooms have a view of Lake Onega. English breakfast, daily free access to the water wellness center or gym, Wi-Fi. 3  Maski Hotel, Karl Marx Ave., 3A. ☎ +7 (8142) 77-46-19. from 2200 rub/day It is located in the historical center of the city near Onega embankment, within walking distance to the River Station. Some rooms have a view of the Petrovsky Garden. Business center, sauna with swimming pool, cafe. 4 Lososinskaya Hotel, Lososinskoye Highway, 7 (route taxis No. 7, 15, 17, 19, 20 go to the hotel. Stop "Republican Hospital"). ✉ ☎ +7 (8142) 77-33-82, +7 (8142) 76-91-27. 1300-3000 rub. It is located 5 minutes walk from the railway station, almost in the city center. At the same time, the hotel can accommodate a group of up to 30 people. 5  Onega Castle Hotel  , 44 Fedosova St. ☎ +7 921 801 45 04. 2800-4500 rubles. Hotel on the banks of the Onega, with a sauna and decoration in the Karelian style. Expensive 6  Karelia Hotel & SPA , emb. Gyullinga, 2. ☎ +7 (8142) 73-33-33. 3000-10960 rub. A three-star hotel with an excellent location: a view of the embankment and a small beautiful stream, very close to the center and all the sights. SPA services. Restaurant. 7  Hotel Severnaya   , 21 Lenin Ave. ✉ ☎ +7 (8142) 599 777. 2050-6800 rub. The rooms are spacious. Located in the city center, good accessibility to the train station and other places. Same name restaurant. 8  Hotel «Cosmos-Petrozavodsk» , st. Kuibysheva, 26. ☎ +7 (814 2) 790-790. Double from 5300 rubles. 4-star hotel on the lake, next to the promenade. Restaurants, bar, gym, Finnish sauna complex. 9  Piter Inn Petrozavodsk, pl. Gagarin, 1. ☎ +7 (814–2) 717–071. From 3 900 rub. Restaurant, gym, Wi-Fi, satellite TV, safe, laundry, dry cleaning. 10 Fregat Hotel, Karl Marx Ave., 1A. ✉ ☎ 8 (800) 333 2343. 3300-5200₽. Located on the shores of Lake Onega. The hotel has 50 rooms in total, some of them overlooking the lake. WiFi. There is a restaurant of the same name of Russian and European cuisine, positioning itself as a "family". 11 Prionezhsky Club Hotel. ☎ +7 911 404 30 08. from 2200 rub. Three-star hotel on the banks of the Onega. 12  Hotel 13 Chairs  , Neglinskaya embankment, 13. ☎ +7 921 220 4444. from 2899 ₽/night. Boutique Hotel in the historical quarter, located in the building of the mansion. There are rooms with a fireplace

Finland Finland, 25 Gogolya St., ☎ +7 (8142) 555-025, +7 8142 761-564, +7 8142 766-208 (common), +7 (921) 726-0874 (F 5PM to M 8.30AM only for Finnish citizens in case of emergency), fax: +7 (8142) 767-167, e-mail: [email protected] . Mon, Tue, Thu, Fri - 9-00 - 12-00 and 13-00 - 15-45; Wed 9-00 - 12-00. Sweden Sweden, 25 Gogolya St.. Visa for locals, no other consular service provided.

All major mobile operators in Russia operate in the city: MTS, Beeline, Megafon, Tele2. Megafon has the widest coverage in Petrozavodsk and Karelia. Petrozavodsk post office, st. Shotman, 7. ☎ (8142) 78 23 52.

Precautionary measures

Department of the Ministry of Internal Affairs of Russia for the city of Petrozavodsk, Kurgan passage, 6 (duty unit). ☎ +7 (8142) 78-05-81, (8142) 71-53-27 or 02. Police Department No. 1 of the Department of the Ministry of Internal Affairs, Murmanskaya st., 37. ☎ +7 (8142) 73-91-54. Police Department No. 2 of the Department of the Ministry of Internal Affairs, Pitkyarantskaya St., 32A. ☎ +7 (8142) 73-92-40. Police Department No. 3 of the Department of the Ministry of Internal Affairs, Lososinskoye sh., 33 k. 1. ☎ +7 (8142) 75-50-13. The number of accidents in Petrozavodsk is not decreasing. If an accident or other traffic accident has occurred, then you should contact the traffic police. Separate battalion of traffic police department of the Ministry of Internal Affairs (execution of administrative legislation, road patrol service), Leningradskaya st., 7 (Service area: Petrozavodsk). ☎ +7 (8142) 71-59-00, 71-58-75.

Neighborhood

Kizhi Kondopoga Reserve "Kivach", pos. Kivach, st. Zapovednaya, 14 (On the R-21 "Kola" highway in the area of pillar 493/912 of the "Kola" highway (in front of the village of Sopokha) exit to the local highway, from the turn to the entrance / entrance to the territory of the reserve - 8 km.). ☎ +7 (8142) 44-50-33, +7 (921) 227-49-23. Mon-Sun 07:30-23:00, Museum of Nature: summer (May-Sept) 09:00-21:00, winter (Oct-Apr) 10:00-17:00. 200 rub. One of the oldest in Russia and the first in the Republic of Karelia. In the excursion zone of the reserve there are: the Kivach waterfall, the museum of nature (the historical past of the waterfall, landscapes, flora and fauna of the reserve, etc.), arboretum, a monument to the soldiers of the Great Patriotic War. Hiking eco-excursions around the reserve are offered. Museum "Marcial Waters", pos. Martial Waters. ☎ +7 (8142) 78-89-98. Museum of the history of the Marcial Waters resort. The first Russian resort founded by Emperor Peter I. Sheltozero Veps Ethnographic Museum, p. Sheltozero, st. Postal, 28. ☎ +7 (8142) 53-91-50. Tue-Sun 10:00 - 17:00, break 13:00 - 14:00. The only museum in Russia representing the material and spiritual culture of the Vepsians - a small nationality living in Karelia and adjacent regions. Ethnocultural center "Elāmā" , village of Pryazha, st. Sovetskaya, 75. ☎ +7 (964) 3189490, +7 (81456) 31171. Mon-Fri 9:00 - 17:00. Excursion "Golden Thread Yarn" - 50 rubles / person. Excursion + master class + tea drinking - from 250 rubles / person. For everyone who wants to get acquainted with the culture of the peoples of the Karelian land. Ski center "Yalgora", Pinguba township, Gornolyzhnaya st., 3. ✉ ☎ +7(8142) 330300. Located 30 km from the center of Petrozavodsk on the shores of the bay of Lake Onega. Ski slope with height difference up to 100 meters, length up to 800 meters, ski slopes, training slope, chair lift. Rent cottages and rooms in a hostel for living. Rental of skis and snowboards. Cafe.

Physical and geographical characteristics

Geographical position.

The city is located on the territory of the East European Plain to the north of the Olonets Upland and the Shoksha Ridge. It is located on the shores of the Petrozavodsk Bay of Lake Onega as an amphitheater on lake terraces, stretching along the coast for 21.7 km. The city is surrounded by forests on the southwestern side and the Petrozavodsk Bay of Lake Onega in the northeast. Zero kilometer is located at the intersection of Sverdlov and Dzerzhinsky streets - near the building of the Russian Post of the Republic of Karelia. Petrozavodsk is located 1091 kilometers north of Moscow and 412 kilometers northeast of St. Petersburg. The territory of Petrozavodsk is 113.26 km², together with the territory of the urban district - 615.9 km². Administratively, the city of Petrozavodsk is part of the Petrozavodsk urban district, it is the only settlement in the district. The city is surrounded on all sides by the territory of the Prionezhsky district, the administrative center of which it is.

Petrozavodsk is located in the MSK time zone (Moscow time). The offset of the applicable time from UTC is +3:00. In accordance with the applied time and geographic longitude, the average solar noon in Petrozavodsk occurs at 12:43.

Petrozavodsk is equated with the regions of the Far North. The climate in Petrozavodsk is temperate continental with maritime features. Winter is long, relatively mild; summer is short and cool. The average annual temperature is +3.1°. The duration of the frost-free period is 120-130 days. The weather here is unstable, which is caused by frequent cyclones coming from the west. More than half of the days of the year are cloudy. The annual rainfall is 611 millimeters. Spring comes in mid-April, but the return of cold weather is possible in May, which is sometimes accompanied by snowfall. Summer starts in the first half of June. Daylight hours are 22 hours in June (white nights), 21 hours in July, 16 hours in August. The average July air temperature is 17 °C. Eastern winds prevail, bringing prolonged rains. Sometimes in summer Karelia is captured by the northern part of the European anticyclone, and in clear weather the air warms up to 30 ° C, but such weather can easily be replaced by heavy rains and strong western or cold northern winds. Autumn with humid southwest winds or clear but cold (up to frost in the lowlands) weather comes in early September.

Hydrography

The city is located on the shores of the Petrozavodsk, German and Hare lips of Lake Onega, the second largest lake in Europe. Part of the city is located on the shores of the central part of Lake Onega. Through the system of rivers and canals, Petrozavodsk has access to the Baltic, White, Barents, Caspian and Black Seas. Within the city there are lakes Dennoe, Lamba, Logmozero and Chetyrekhverstnoe. Logmozero and Lake Onega are connected by the Straw Strait. 20 non-navigable rivers and streams flow through the territory of the city: the Lososinka River, the Neglinka River, the Rybka River, the Selgskaya River, the Tomitsa River, the Bolshoy Brook, the Vilda Brook, the Stone Brook, the Kekasruchey Brook, the Small Brook, the Studenets Brook, the Studёny Brook, the Terezh Brook, the Solomen River, as well as six streams that have the same name - the Nameless Stream. About 100 springs operate on the territory of the city. Some of them (“Sulazhgorsky”, “Onezhsky”, “Frog”, “Labor reserves” (“On Bypass”), “On Volnoy”, “Neglinsky”, springs on Kurgan passage, Lesnoy Prospekt, several springs on Klyuchevaya) are actively visited by Petrozavodsk residents. From 12 keys, located in the southern part of the city, 12 Keys Street (now - Klyuchevaya Street) and the village (now - a residential area) Klyuchevaya got their name. There are a number of flooded quarries in the city (for example, Quarry).

The city of Petrozavodsk is not only surrounded by green forests from almost all sides, but also has quite developed “lungs”. The green zone of Petrozavodsk covers an area of 48.2 thousand hectares, including 1800 hectares located within the city limits. The area of the forest-park part of the green zone is 12.9 thousand hectares, the forestry part is 35.3 thousand hectares. Parks, squares and street plantings occupy about 400 hectares, which is slightly more than 14 m² per inhabitant. Petrozavodsk is one of the greenest medium-sized cities in Russia. The city has 259 squares, 109 alleys, 100 parks, 17 gardens, 16 boulevards. Since 1951, the Botanical Garden of Petrozavodsk State University has been functioning, which is a federal specially protected natural area. The area of the garden is 367 hectares. In the green zone of the city, on the Baraniy Bereg peninsula, there is a landscape reserve "Zaozersky" (Zaozersky forestry of the Petrozavodsk forestry enterprise).

Ecological state

Within the city limits, soil contamination with pesticides in excess of the maximum allowable level was not observed. Pollution of land with oil products takes place in the territories of industrial enterprises and along railways. Pollution with lead and zinc in excess of the maximum allowable concentration is noted in the upper layers of the soil along highways and railways.