Please read the chapter (handout) "What Makes a Play?"
Feel free to complete any of the journal exercises at the end of the chapter.
You should be familiar with the structure of plays.
All plays should have a beginning, middle, and end
All plays are written for the stage (not to just be read)
All plays are written in present tense (not past)
All plays are more powerful if they are tightly written. To be "tightly written" you should avoid using broad-sweeping plots, with many cinematic scene changes.
Plays should adhere to what are called the unities:
1. The unity of time (plays should not span many years)
2. The unity of place (plays should concentrate action in one or few settings)
3. The unity of action (plays should limit their plots so they are not confusing)
All plays require conflict
Conflict should be balanced (in other words the struggle between protagonist and antagonist should be a fair fight)
Meaning in a play is tied to the action and conflict being presented on stage
All plays should be entertaining (and written to be performed)
All plays should communicate an idea (or belief about the human condition)
Plays are NOT movies. The best way to learn how to write scripts is to read them and see play productions whenever possible.
Thursday, December 18, 2008
The Where and What in your play
With a partner, gather at least 10 places. These places should be designed for a stage. In other words, realize that you will use them on a stage (such as the blackbox theatre, or the ensemble, or the main stage). For each space include the following information:
1. Is the space interior or exterior (inside or outside)?
2. What time of day or night is it?
3. What season or weather?
4. Is the space cramped or open?
5. Is the ceiling high or low?
6. Where is the entrance?
7. What is the quality and source of light?
8. Is there anything unexpected about the space or its contents?
After concluding this exercise, please add 10 or more "WHAT's" for your play.
a what is WHAT is happening in a particular space. It may be a poetic metaphor or symbolic, or stated plainly. Try ten of these.
1. Is the space interior or exterior (inside or outside)?
2. What time of day or night is it?
3. What season or weather?
4. Is the space cramped or open?
5. Is the ceiling high or low?
6. Where is the entrance?
7. What is the quality and source of light?
8. Is there anything unexpected about the space or its contents?
After concluding this exercise, please add 10 or more "WHAT's" for your play.
a what is WHAT is happening in a particular space. It may be a poetic metaphor or symbolic, or stated plainly. Try ten of these.
Tuesday, December 16, 2008
Gathering the People: The Who in your Play
Today, in lab you may work with a partner, provided both of you participate in the following exercise:
In your journal create a series of characters (some of whom will be used in future assignments).
Rules:
1. Take turns coming up with a character concept. Listen to each other to help create plausible character ideas. Do not place your character in any specific setting.
2. Answer these questions:
a. Who is in that space?
b. what is the character's gender?
c. what is the character's first name?
d. How old is this character?
e. How does this character move? (easily, hesitantly, gracefully, defiantly? etc.)
f. Jot down what the audience can see or hear when this character first appears on stage. (for example, as a writer we may know that Lucy is two-timing Shayla, but at first look, the audience will not know this information - what about her appearance might suggest her to be the type that might cheat?)
g. Jot down specific information that would interest a director, designer, or an actor. (what body type is the character, what culture, what size, what specific details would be important to know in order to cast someone like this?)
Make notes for at least 10 characters. Don't relate the characters to each other. Include different types and ages of characters, too.
Examples:
A. Alexandra: 17, jeans, sandals, wears a man's xl sweater with a hood, attractive, no make-up, moves with purpose and energy.
B. Marla: 38, wrinkled-unkempt clothes, afro. Wears a lot of bling and has a nose-piercing. She moves gracefully, sure of herself and her environment. She pops her gum and always speaks in a loud voice.
C. Burt: 70, thin and dark. He wears a three-piece business suit and clown shoes. He moves unsteadily about with the help of a metal walker. He is often smiling or laughing.
In your journal create a series of characters (some of whom will be used in future assignments).
Rules:
1. Take turns coming up with a character concept. Listen to each other to help create plausible character ideas. Do not place your character in any specific setting.
2. Answer these questions:
a. Who is in that space?
b. what is the character's gender?
c. what is the character's first name?
d. How old is this character?
e. How does this character move? (easily, hesitantly, gracefully, defiantly? etc.)
f. Jot down what the audience can see or hear when this character first appears on stage. (for example, as a writer we may know that Lucy is two-timing Shayla, but at first look, the audience will not know this information - what about her appearance might suggest her to be the type that might cheat?)
g. Jot down specific information that would interest a director, designer, or an actor. (what body type is the character, what culture, what size, what specific details would be important to know in order to cast someone like this?)
Make notes for at least 10 characters. Don't relate the characters to each other. Include different types and ages of characters, too.
Examples:
A. Alexandra: 17, jeans, sandals, wears a man's xl sweater with a hood, attractive, no make-up, moves with purpose and energy.
B. Marla: 38, wrinkled-unkempt clothes, afro. Wears a lot of bling and has a nose-piercing. She moves gracefully, sure of herself and her environment. She pops her gum and always speaks in a loud voice.
C. Burt: 70, thin and dark. He wears a three-piece business suit and clown shoes. He moves unsteadily about with the help of a metal walker. He is often smiling or laughing.
Friday, December 12, 2008
One Minute Writer
Check out the blog the One Minute Writer. Use the prompts to freewrite and get your ideas moving.
Wednesday, December 10, 2008
One Minute Play - exercise (draft 1 & 2)
After reading the plays by Christopher Durang, we went to the lab and wrote a "1-minute" play. Your play was 1-2 pages long and included a few characters, a description of the setting, place and time.
Today, we will read a series of one-act plays (monologues or soliloquys, mainly). The purpose of a monologue is to develop character. It is the fastest way for the audience to get to know (and therefore care) about a fictional character. Monologues provide characterization.
In lab, please go back to your one-minute play. Call this play draft #2. In this draft, give each of your characters a monologue. The monologue can be:
--A character talking about his/her own background
--A character talking about what important event happened to him/her
--A character talking about the other character
--A character talking about an important idea that explains why or what the character is interested in
--A character talking about a problem or conflict in his/her life
--A character talking about... (your choice)
Add details, additional dialogue or anything else that you feel the scene needs to make a statement or explore a personal belief that you hold. (see the chapter on Being a Playwright)
Recap: Write draft #2 of your 1-minute play. Give each character a monologue. Add details and lines (beats) to your script. When you are ready to turn the play in for a grade, print out your play.
Today, we will read a series of one-act plays (monologues or soliloquys, mainly). The purpose of a monologue is to develop character. It is the fastest way for the audience to get to know (and therefore care) about a fictional character. Monologues provide characterization.
In lab, please go back to your one-minute play. Call this play draft #2. In this draft, give each of your characters a monologue. The monologue can be:
--A character talking about his/her own background
--A character talking about what important event happened to him/her
--A character talking about the other character
--A character talking about an important idea that explains why or what the character is interested in
--A character talking about a problem or conflict in his/her life
--A character talking about... (your choice)
Add details, additional dialogue or anything else that you feel the scene needs to make a statement or explore a personal belief that you hold. (see the chapter on Being a Playwright)
Recap: Write draft #2 of your 1-minute play. Give each character a monologue. Add details and lines (beats) to your script. When you are ready to turn the play in for a grade, print out your play.
Playwriting - Being a Playwright
Please read the chapter handout on "Being a Playwright" from the book The Elements of Playwriting by Louis Catron.
Particularly take note of the writerly advice (most of which should sound familiar): to overcome a blank page, the only way to push through "writer's block" is to write. Set time aside every day to write. For you (and your busy lives) use the time given to you every day in the lab to focus on your writing. You can socialize later.
Find inspiration from reading plays and seeing plays. Get involved in theatre in order to understand the form. This is how you grow as a student and a writer.
After completing the handout, please complete the five exercises at the end in your journal. You should continue to keep a journal to jot down ideas and exercises we complete in class. Continually add to your brainstorming. As you know, brainstorming is the first step in the writing process.
Recap: read the chapter, complete the five exercises at the end of the chapter in your journal (do not turn these in to me--put them in your journal).
Particularly take note of the writerly advice (most of which should sound familiar): to overcome a blank page, the only way to push through "writer's block" is to write. Set time aside every day to write. For you (and your busy lives) use the time given to you every day in the lab to focus on your writing. You can socialize later.
Find inspiration from reading plays and seeing plays. Get involved in theatre in order to understand the form. This is how you grow as a student and a writer.
After completing the handout, please complete the five exercises at the end in your journal. You should continue to keep a journal to jot down ideas and exercises we complete in class. Continually add to your brainstorming. As you know, brainstorming is the first step in the writing process.
Recap: read the chapter, complete the five exercises at the end of the chapter in your journal (do not turn these in to me--put them in your journal).
Tuesday, December 2, 2008
Portfolio due today!
Your portfolio will be collected by the end of class today. Please make sure your poems are titled, indicate draft #, and include your name. Please ONLY select your BEST 5 to 7 poems. I will not grade more than 7. Your poems should show me clearly that you understand the craft of poetry (see the blog entry below).
Also, please finish reading the confessional poems given to you in the first part of class today.
There is a test on the craft of poetry on Thursday. You should refer to the blog notes below to study for material that will likely be found on the test.
Also, please finish reading the confessional poems given to you in the first part of class today.
There is a test on the craft of poetry on Thursday. You should refer to the blog notes below to study for material that will likely be found on the test.
Tuesday, November 25, 2008
Portfolio
I will be collecting your portfolio on Dec. 2.
In it, you should have the following:
Choose 5-7 of your finely crafted poems. If you have more than 5-7 poems, you will have to select a few to NOT include in your portfolio. Each poem should include evidence of previous drafts.
Remember, your crafted poems should show growth and understanding of poetic techniques taught in class. Review the blog for help.
We covered:
Diction, tone, word choice, meter, rhythm, line length, white space, stanza form, sound imagery, euphony, cacophony, alliteration, assonance, consonance, onomatopoeia, personification, figurative language, metaphor, simile, imagery, extended metaphor, allusion, symbol, etc.
Please complete the 101 Great American Poems book.
In it, you should have the following:
Choose 5-7 of your finely crafted poems. If you have more than 5-7 poems, you will have to select a few to NOT include in your portfolio. Each poem should include evidence of previous drafts.
Remember, your crafted poems should show growth and understanding of poetic techniques taught in class. Review the blog for help.
We covered:
Diction, tone, word choice, meter, rhythm, line length, white space, stanza form, sound imagery, euphony, cacophony, alliteration, assonance, consonance, onomatopoeia, personification, figurative language, metaphor, simile, imagery, extended metaphor, allusion, symbol, etc.
Please complete the 101 Great American Poems book.
Friday, November 21, 2008
Allusion
So what's all this learnin' for?
Why does a poet or writer need to read the work of so damn many old, dead writers?
The answer: Allusion.
Allusion is a type of figurative language, similar to a symbol. Like a symbol it allows the writer to infuse a word or phrase with additional meaning to avoid TELLING, rather than showing.
An allusion is "a reference to something that belongs properly to a world beyond the sphere of the poem. Often the reference comes from an historical or a cultural context, but not necessarily. Its use is to deepen the definition or to extend the quality of something in the poem." (Mary Oliver)
Look for ALLUSION in William Carlos Williams' poems: "January Morning", "The Sparrow", and FROM: "Paterson, Book II: Sunday in the Park". Find and explain at least 10 allusions in these three poems. Textual render these 3 poems and turn in your 10 definitions of the allusions for next class.
In Lab:
After reading pages 60-62 in 101 Great American Poems and reading the William Carlos Williams poems from class, write a poem in the style of William Carlos Williams. Use any of these prompts to get you started:
1. Describe a private act your speaker of the poem might perform in detail.
2. Similar to 13 Ways of Looking at a Blackbird, choose a time or setting and divide that moment or time into parts. Write about all the fragmentary images that you see (or perhaps their meaning).
3. Compare a loved one (or someone you know well) with an ordinary object. Extend your metaphor.
4. Write a poem for your father.
5. Use white space creatively, but with significance in one of your poems that you write now, or as a different draft of a poem you have already written.
6. Combine prose with poetry.
Throughout all these prompts, remember to use the following poetic tools:
Sound imagery (cacophony, euphony: alliteration, consonance, assonance, onamatopoeia, internal ryhme)
Imagery: allusion, metaphor, simile, personification, symbol
Line: create a pattern or break a pattern to create an effect; use long or short or combination of line breaks; use enjambment; use stanzas and white space to create an effect
Meter: choose a metrical rhythm for your poem; pay attention to beats and syllables
Stuck? Remember the following:
1. All poems should have a character or speaker
2. The speaker should BE somewhere: give your poem a definite setting (even if you don't refer to it)
3. The speaker should have a reason to speak
4. The speaker should speak to someone or something
5. Give your speaker a distinct voice or attitude (tone)
Without these answers clearly formed in your mind, your poem may fail. Use your journal to sketch ideas before you begin.
Why does a poet or writer need to read the work of so damn many old, dead writers?
The answer: Allusion.
Allusion is a type of figurative language, similar to a symbol. Like a symbol it allows the writer to infuse a word or phrase with additional meaning to avoid TELLING, rather than showing.
An allusion is "a reference to something that belongs properly to a world beyond the sphere of the poem. Often the reference comes from an historical or a cultural context, but not necessarily. Its use is to deepen the definition or to extend the quality of something in the poem." (Mary Oliver)
Look for ALLUSION in William Carlos Williams' poems: "January Morning", "The Sparrow", and FROM: "Paterson, Book II: Sunday in the Park". Find and explain at least 10 allusions in these three poems. Textual render these 3 poems and turn in your 10 definitions of the allusions for next class.
In Lab:
After reading pages 60-62 in 101 Great American Poems and reading the William Carlos Williams poems from class, write a poem in the style of William Carlos Williams. Use any of these prompts to get you started:
1. Describe a private act your speaker of the poem might perform in detail.
2. Similar to 13 Ways of Looking at a Blackbird, choose a time or setting and divide that moment or time into parts. Write about all the fragmentary images that you see (or perhaps their meaning).
3. Compare a loved one (or someone you know well) with an ordinary object. Extend your metaphor.
4. Write a poem for your father.
5. Use white space creatively, but with significance in one of your poems that you write now, or as a different draft of a poem you have already written.
6. Combine prose with poetry.
Throughout all these prompts, remember to use the following poetic tools:
Sound imagery (cacophony, euphony: alliteration, consonance, assonance, onamatopoeia, internal ryhme)
Imagery: allusion, metaphor, simile, personification, symbol
Line: create a pattern or break a pattern to create an effect; use long or short or combination of line breaks; use enjambment; use stanzas and white space to create an effect
Meter: choose a metrical rhythm for your poem; pay attention to beats and syllables
Stuck? Remember the following:
1. All poems should have a character or speaker
2. The speaker should BE somewhere: give your poem a definite setting (even if you don't refer to it)
3. The speaker should have a reason to speak
4. The speaker should speak to someone or something
5. Give your speaker a distinct voice or attitude (tone)
Without these answers clearly formed in your mind, your poem may fail. Use your journal to sketch ideas before you begin.
Wednesday, November 19, 2008
Wallace Stevens - 13 Way of Looking at a...
Please write a poem in the style of Wallace Stevens' poem 13 Ways of Looking at a Black Bird.
Choose an object to be used symbolically.
Choose a significant #.
Write a poem draft.
Label the draft as draft #1.
Turn in when you complete the draft.
Homework: please read Carl Sandburg, Vachel Lindsey, Wallace Stevens in 101 Great American Poems. (Pages 53-60) That's all. Just read. As you read THINK about imagery, meter, diction, tone, sound, structure, line. (I.E. everything we've discussed so far about poetry).
Complete the journal exercise started on 11/19.
Choose an object to be used symbolically.
Choose a significant #.
Write a poem draft.
Label the draft as draft #1.
Turn in when you complete the draft.
Homework: please read Carl Sandburg, Vachel Lindsey, Wallace Stevens in 101 Great American Poems. (Pages 53-60) That's all. Just read. As you read THINK about imagery, meter, diction, tone, sound, structure, line. (I.E. everything we've discussed so far about poetry).
Complete the journal exercise started on 11/19.
Imagery Reimagined - Symbol
Symbol:
Symbols are nouns. These nouns have a connotation attached to them, another meaning beyond their dictionary definition (denotation).
Poets use symbols then to infer or give a noun additional meaning.
Usually this connotative meaning is attached to a theme.
So, in a way, a writer uses a symbol to SHOW the connection between a noun and a theme instead of whacking the reader on the head with a TELLING statement.
Symbols are often culturally or nationally significant. Certain cultures attach meaning to objects in different ways. Thus, understanding a symbol can be difficult if you are from a different culture. Communicating a cultural symbol to someone who is outside of that particular culture is often difficult.
Other symbols are considered universal. These nouns carry additional weight that remain relatively consistent over time. Birds, for example, often symbolize spirituality. An eagle, would, perhaps symbolize spirituality AND freedom, if viewed by U.S. citizens (a particular cultural group).
Some common universal symbols include:
The compass points (north, south, east, west) can refer to intellectualism (north), physicality (south), paradise or beginning (east), end or death (west)
Day & night suggest birth and death
The seasons (Spring suggests birth, summer = youth/life, autumn = middle age, winter = death, or old age)
Some symbols are religious in nature: the cross, for example, represents Christ in Christianity. The Swastika originally symbolized spiritual power before it was “corrupted” by the Nazis during WWII. Thus, you can see, symbols can change their meaning over time, depending on the meaning a culture attaches to it.
Writers often use personal symbols. Certain poets (like Frost) use natural settings or items to suggest human life. A path in the woods may become a symbol for the decisions a human must make in his/her life. A stone wall might symbolize the demarcation of borders between humans or the lack of communication between people. Picking apples might symbolize opportunities and human effort.
When a writer uses a character or person to create a symbol instead of an object, this is called allegory. An allegory is an extended metaphor that attaches connotative meaning to characters, suggesting meaning beyond the normal use of characterization.
Symbols are nouns. These nouns have a connotation attached to them, another meaning beyond their dictionary definition (denotation).
Poets use symbols then to infer or give a noun additional meaning.
Usually this connotative meaning is attached to a theme.
So, in a way, a writer uses a symbol to SHOW the connection between a noun and a theme instead of whacking the reader on the head with a TELLING statement.
Symbols are often culturally or nationally significant. Certain cultures attach meaning to objects in different ways. Thus, understanding a symbol can be difficult if you are from a different culture. Communicating a cultural symbol to someone who is outside of that particular culture is often difficult.
Other symbols are considered universal. These nouns carry additional weight that remain relatively consistent over time. Birds, for example, often symbolize spirituality. An eagle, would, perhaps symbolize spirituality AND freedom, if viewed by U.S. citizens (a particular cultural group).
Some common universal symbols include:
The compass points (north, south, east, west) can refer to intellectualism (north), physicality (south), paradise or beginning (east), end or death (west)
Day & night suggest birth and death
The seasons (Spring suggests birth, summer = youth/life, autumn = middle age, winter = death, or old age)
Some symbols are religious in nature: the cross, for example, represents Christ in Christianity. The Swastika originally symbolized spiritual power before it was “corrupted” by the Nazis during WWII. Thus, you can see, symbols can change their meaning over time, depending on the meaning a culture attaches to it.
Writers often use personal symbols. Certain poets (like Frost) use natural settings or items to suggest human life. A path in the woods may become a symbol for the decisions a human must make in his/her life. A stone wall might symbolize the demarcation of borders between humans or the lack of communication between people. Picking apples might symbolize opportunities and human effort.
When a writer uses a character or person to create a symbol instead of an object, this is called allegory. An allegory is an extended metaphor that attaches connotative meaning to characters, suggesting meaning beyond the normal use of characterization.
Monday, November 17, 2008
Robert Frost Homework
Please read the poems by Robert Frost in 101 Great American Poems. Choose one of the poems on pages 46-52. Analyze the poem, search for imagery, and explain the meaning of the poem: 1. on its surface, denotative meaning and 2. on its connotative, deeper, metaphysical meaning. Explain how the poet uses imagery to help him achieve his goal.
Metaphor/Simile exercises
Simile
A simile is a comparison between two nouns using like or as to make the connection.
Similes are very similar to metaphors but function a little differently.
A poet can use a simile rather than a metaphor for rhythm, sound, and meaning.
Adjectives often are included in a simile to make the comparison more imaginative.
Example: The night was dark and damp like an old trout buried in a moldy sock.
Similes are also a little less forceful and not as bold as metaphors.
Example: The woman is like a tornado. Opposed to: The woman is a tornado.
In the first example the woman is only compared to a tornado. The comparison is only suggested. The woman may also be like something else. In the second example the woman is a tornado. The comparison is stated directly. She is not similar to anything else--she is just a tornado.
Activity: Complete the following phrases by making them into similes. After completing these, complete the exercise on Metaphors and then create a series of short poems heavy on the imagery.
As empty as…
Stumbling like a…
Gathered together like a…
As rough as…
Singing like a…
Trembling like a…
Praying like a …
Stinking like a…
Grinning like a…
The trick, of course, is to avoid cliche.
Metaphor
A metaphor is a comparison between two unrelated nouns.
Metaphors are the backbone of poetry. They communicate in images and ideas which general language cannot convey. As a poetic tool, they are very effective communicators and provide pictures or images.
Activity: Write metaphors for each of the words or phrases below and then for some of the metaphors answer the question who, what, where, when, how and/or why about your comparisons. Use this brainstorming to create a series of short poems.
Heart of...
Mountains of...
War (love) is...
The ocean is...
The moon is...
This house of...
Of course continue these lists using your own subjects. Try to come up with a few originals.
A simile is a comparison between two nouns using like or as to make the connection.
Similes are very similar to metaphors but function a little differently.
A poet can use a simile rather than a metaphor for rhythm, sound, and meaning.
Adjectives often are included in a simile to make the comparison more imaginative.
Example: The night was dark and damp like an old trout buried in a moldy sock.
Similes are also a little less forceful and not as bold as metaphors.
Example: The woman is like a tornado. Opposed to: The woman is a tornado.
In the first example the woman is only compared to a tornado. The comparison is only suggested. The woman may also be like something else. In the second example the woman is a tornado. The comparison is stated directly. She is not similar to anything else--she is just a tornado.
Activity: Complete the following phrases by making them into similes. After completing these, complete the exercise on Metaphors and then create a series of short poems heavy on the imagery.
As empty as…
Stumbling like a…
Gathered together like a…
As rough as…
Singing like a…
Trembling like a…
Praying like a …
Stinking like a…
Grinning like a…
The trick, of course, is to avoid cliche.
Metaphor
A metaphor is a comparison between two unrelated nouns.
Metaphors are the backbone of poetry. They communicate in images and ideas which general language cannot convey. As a poetic tool, they are very effective communicators and provide pictures or images.
Activity: Write metaphors for each of the words or phrases below and then for some of the metaphors answer the question who, what, where, when, how and/or why about your comparisons. Use this brainstorming to create a series of short poems.
Heart of...
Mountains of...
War (love) is...
The ocean is...
The moon is...
This house of...
Of course continue these lists using your own subjects. Try to come up with a few originals.
Thursday, November 13, 2008
Figurative language poem #1
1. Write a poem draft using extended metaphor.
2. Take one of your poems and revise. Add imagery in the form of simile, metaphor, personification, allusion, symbol, etc. Remember to label the draft.
2. Take one of your poems and revise. Add imagery in the form of simile, metaphor, personification, allusion, symbol, etc. Remember to label the draft.
Figurative Language
Metaphor
Simile
Personification
Symbol
Metaphors and similes are the backbone of many poems.
• A simile is a comparison between two objects (nouns) connected by like, as, or than or a verb like resembles.
• A simile expresses a similarity, a connection between two things.
• The art working here is that the two things are not normally thought of connecting or going together logically.
• The more dissimilar the objects being compared the more interesting and challenging the reading/listening process.
A simile equation looks like an analogy:
X:Y (x is to y)
By leaving out the connective (like, as, than, etc.), the result is a metaphor. Metaphors are more direct, making the connection deeper and more significant.
• One goal for a poet is to extend the metaphor, thereby prolonging the effect of the comparison.
• By selecting words which recall or connect to the metaphor being made, we can extend the comparison.
A metaphor equation might look like this:
X = Y (x is equal to y)
To extend a metaphor, choose the Y and list words which come to mind when thinking about Y.
Example:
Love is a bird.
X = Y
Bird associated words: peck, fly, feathers, worm, beak, hawk, egg, etc.
Love is a flightless bird
An ostrich with its head in the sand.
What sharp beak pecks my heart
In search of the green worm?
What comes first to this lonesome nest—
The egg or the chicken?
Simile
Personification
Symbol
Metaphors and similes are the backbone of many poems.
• A simile is a comparison between two objects (nouns) connected by like, as, or than or a verb like resembles.
• A simile expresses a similarity, a connection between two things.
• The art working here is that the two things are not normally thought of connecting or going together logically.
• The more dissimilar the objects being compared the more interesting and challenging the reading/listening process.
A simile equation looks like an analogy:
X:Y (x is to y)
By leaving out the connective (like, as, than, etc.), the result is a metaphor. Metaphors are more direct, making the connection deeper and more significant.
• One goal for a poet is to extend the metaphor, thereby prolonging the effect of the comparison.
• By selecting words which recall or connect to the metaphor being made, we can extend the comparison.
A metaphor equation might look like this:
X = Y (x is equal to y)
To extend a metaphor, choose the Y and list words which come to mind when thinking about Y.
Example:
Love is a bird.
X = Y
Bird associated words: peck, fly, feathers, worm, beak, hawk, egg, etc.
Love is a flightless bird
An ostrich with its head in the sand.
What sharp beak pecks my heart
In search of the green worm?
What comes first to this lonesome nest—
The egg or the chicken?
Monday, November 10, 2008
11/10 Class
For homework: Please read Mary Oliver's article on "Imagery". Note important concepts in the article and learn them. Then, apply what you learned about Imagery from Mary Oliver and select one of the poems in 101 Great American Poems (pages 29-44). Comment in a paragraph or two about the poet's use of imagery in one of these poems.
In class:
A. write poetry. Use what you learned about lines, metrics, sound, and image to create poems that use these devices.
B. Type up your journal exercise
C. Read your homework (see above)
In class:
A. write poetry. Use what you learned about lines, metrics, sound, and image to create poems that use these devices.
B. Type up your journal exercise
C. Read your homework (see above)
Thursday, November 6, 2008
The Poetic Line
A quick and easy guide to line breaks
The longer the line, the slower the action or the movement of the poem.
Use longer lines when you want the reader to slow down or the speaker in the poem is taking time to breathe.
Longer lines can also indicate ranting
The shorter the line, the faster the action or movement of the poem.
Use shorter lines when you want the reader to speed up or the speaker in the poem is in a hurry or excited.
Shorter lines can also indicate a simple mindset or persona.
Combine line lengths to speed up or slow down. When combined, the shorter lines become heavier and weighty with meaning. You are putting emphasis on the shorter lines because they stand out on the page from the longer ones.
This works the same way in reverse. A longer line will have emphasis in the midst of a lot of shorter lines.
LINE BREAKS and SPACE
The ends of your lines will emphasize the last word in the line of poetry.
Usually, the last word in a line is a noun. (Most lines end with nouns.)
Poetry without punctuation usually has nouns as end words in their lines so as not to confuse readers. (Most readers stop at the end of a line.)
In poetry that HAS punctuation, make sure you read to the period--do not pause at the end of a line or you will be confused.
Lines can also often end in a verb.
(lines ending in verbs stress the action happening in the poem)
Or an important word that the poet wants to stress
Space, in general, is used to show ‘emptiness’, scattered thoughts, parenthesis, and pausing.
Activity: Choose 1 or more poems that you have written the first draft of, rearrange the lines in a drastic way.
(If they were all together in one stanza, break them apart. If they were long lines, keep them short. If they were short--long....etc. Use spacing to show disjointedness or separation, etc.
Overall, play.
The longer the line, the slower the action or the movement of the poem.
Use longer lines when you want the reader to slow down or the speaker in the poem is taking time to breathe.
Longer lines can also indicate ranting
The shorter the line, the faster the action or movement of the poem.
Use shorter lines when you want the reader to speed up or the speaker in the poem is in a hurry or excited.
Shorter lines can also indicate a simple mindset or persona.
Combine line lengths to speed up or slow down. When combined, the shorter lines become heavier and weighty with meaning. You are putting emphasis on the shorter lines because they stand out on the page from the longer ones.
This works the same way in reverse. A longer line will have emphasis in the midst of a lot of shorter lines.
LINE BREAKS and SPACE
The ends of your lines will emphasize the last word in the line of poetry.
Usually, the last word in a line is a noun. (Most lines end with nouns.)
Poetry without punctuation usually has nouns as end words in their lines so as not to confuse readers. (Most readers stop at the end of a line.)
In poetry that HAS punctuation, make sure you read to the period--do not pause at the end of a line or you will be confused.
Lines can also often end in a verb.
(lines ending in verbs stress the action happening in the poem)
Or an important word that the poet wants to stress
Space, in general, is used to show ‘emptiness’, scattered thoughts, parenthesis, and pausing.
Activity: Choose 1 or more poems that you have written the first draft of, rearrange the lines in a drastic way.
(If they were all together in one stanza, break them apart. If they were long lines, keep them short. If they were short--long....etc. Use spacing to show disjointedness or separation, etc.
Overall, play.
Tuesday, November 4, 2008
Poetry - Sound draft
Choose one of the poems you have written in the past few weeks. You will be asked to create a second draft of this poem.
For the second draft (please label it as a second draft), you will focus on SOUND and sound imagery.
You may wish to do any of the following to change or revise your poem:
1. Put your poem into a metrical pattern or create a syllabic pattern
2. Use alliteration, assonance, consonance, or rhyme to create a euphonic or cacophonic poem.
3. Change the line length of your poem to include a caesura or enjambment
4. Focus on your cadence groups
Turn your poem in, label it 2nd draft (sound).
For the second draft (please label it as a second draft), you will focus on SOUND and sound imagery.
You may wish to do any of the following to change or revise your poem:
1. Put your poem into a metrical pattern or create a syllabic pattern
2. Use alliteration, assonance, consonance, or rhyme to create a euphonic or cacophonic poem.
3. Change the line length of your poem to include a caesura or enjambment
4. Focus on your cadence groups
Turn your poem in, label it 2nd draft (sound).
Sound Segments, Families of Sound, Sound Imagery
Words are divided into segments (like cadence groups, but of individual sounds)
Ex. Top (has 3 segments)
Graph (has 4 segments)
Sometimes it takes more than one letter to make a segment.
Segments are divided into vowel sounds and consonant sounds (including semivowels).
Vowel sounds: a, e, I, o, u, and sometimes y and w.
All other are consonant sounds.
Consonants come in 3 types:
1. Stop sounds (p, b, t, d, k, g)
2. Continuant sounds (produced by the steady release of the breath and position of the tongue) (n, ng, l, r, th, s, z, sh, zh)
3. Semivowels (f, h, j, l, m, n, r, s, v, w, x, y, z)
There is often a difference between the spelling or graphic of the word and the phonetics (or sound) the word makes.
Sound Imagery and Technique
Euphony & Cacophony
Euphony (good sound) refers to words containing consonants that permit an easy and pleasant flow of spoken sound.
“Thy hair soft-lifted by the winnowing wind” is euphonious.
Cacophony (bad sound) the words do not flow smoothly but rather bump or clash against each other harshly and jarringly.
“Selfish shellfish” “Toy boat” “Red leather”, “the bare black cliff clang’d round him.”
The following are all techniques of creating euphony or cacophony. These can be used to create sound imagery.
Alliteration: the repetition of the first consonant of a word, through the cadence group or line
Assonance: the repetition of a vowel sound in a cadence group or line
Consonance: the repetition of a consonant sound in a cadence group or line found within words, as opposed to the beginning of a word (see Alliteration)
Onomatopoeia: Words that look the way they sound; a word that through sound represents what it defines
Rhyme: The agreement (euphony) of two metrically accented syllables and their terminal (end) consonants
Ex. Top (has 3 segments)
Graph (has 4 segments)
Sometimes it takes more than one letter to make a segment.
Segments are divided into vowel sounds and consonant sounds (including semivowels).
Vowel sounds: a, e, I, o, u, and sometimes y and w.
All other are consonant sounds.
Consonants come in 3 types:
1. Stop sounds (p, b, t, d, k, g)
2. Continuant sounds (produced by the steady release of the breath and position of the tongue) (n, ng, l, r, th, s, z, sh, zh)
3. Semivowels (f, h, j, l, m, n, r, s, v, w, x, y, z)
There is often a difference between the spelling or graphic of the word and the phonetics (or sound) the word makes.
Sound Imagery and Technique
Euphony & Cacophony
Euphony (good sound) refers to words containing consonants that permit an easy and pleasant flow of spoken sound.
“Thy hair soft-lifted by the winnowing wind” is euphonious.
Cacophony (bad sound) the words do not flow smoothly but rather bump or clash against each other harshly and jarringly.
“Selfish shellfish” “Toy boat” “Red leather”, “the bare black cliff clang’d round him.”
The following are all techniques of creating euphony or cacophony. These can be used to create sound imagery.
Alliteration: the repetition of the first consonant of a word, through the cadence group or line
Assonance: the repetition of a vowel sound in a cadence group or line
Consonance: the repetition of a consonant sound in a cadence group or line found within words, as opposed to the beginning of a word (see Alliteration)
Onomatopoeia: Words that look the way they sound; a word that through sound represents what it defines
Rhyme: The agreement (euphony) of two metrically accented syllables and their terminal (end) consonants
Meter in Poetry
Two classifications of poetry: open forms; closed forms.
A closed form (traditional poetry), cadence groups form a pattern.
An open form (free verse, mainly), cadence groups do not form a set pattern.
Poetry in open forms tends to stress meaning over versification.
Syllables: individual units of rhythm in a word or line.
Stress: this class. Also, the emphasis placed on a syllable in a word.
Unstressed: lighter stress, not so heavy as the stress above.
Metrical feet:
1-foot = monometer
2-foot = dimeter
3-foot = trimeter
4-foot = tetrameter
5-foot = pentameter (the meter used in sonnets and blank verse lines; very common)
6-foot = hexameter
7-foot = heptameter
8-foot = octameter
9-foot = nonameter
10-foot = decameter
2 Syllable Feet:
Iambic: stress is on the second of two syllable words: ex. reTURN, beCAUSE, atTACK, etc.
Trochee: reverse of the Iambic, stress is on the first of two syllables: MOTHer, SISter, BORing.
Spondee: Both syllables are stressed.
3 Syllable Feet:
Anapest: stress is on the last syllable of a three syllabled word. Ex. Chevro-LET, rockandROLL
Dactyl: stress on first syllable followed by two non stressed. Ex. BU-da-pest, FOR-tu-nate
Caesura: (plural: caesurae) a pause separating cadence groups (however brief) within a line. If the pause is a result of the end of a line pause, then this is end-stopping.
Enjambement (enjambment): If a line has no punctuation at the end and runs over to the next line, it is called run-on or better yet, enjambement (enjambment).
A closed form (traditional poetry), cadence groups form a pattern.
An open form (free verse, mainly), cadence groups do not form a set pattern.
Poetry in open forms tends to stress meaning over versification.
Syllables: individual units of rhythm in a word or line.
Stress: this class. Also, the emphasis placed on a syllable in a word.
Unstressed: lighter stress, not so heavy as the stress above.
Metrical feet:
1-foot = monometer
2-foot = dimeter
3-foot = trimeter
4-foot = tetrameter
5-foot = pentameter (the meter used in sonnets and blank verse lines; very common)
6-foot = hexameter
7-foot = heptameter
8-foot = octameter
9-foot = nonameter
10-foot = decameter
2 Syllable Feet:
Iambic: stress is on the second of two syllable words: ex. reTURN, beCAUSE, atTACK, etc.
Trochee: reverse of the Iambic, stress is on the first of two syllables: MOTHer, SISter, BORing.
Spondee: Both syllables are stressed.
3 Syllable Feet:
Anapest: stress is on the last syllable of a three syllabled word. Ex. Chevro-LET, rockandROLL
Dactyl: stress on first syllable followed by two non stressed. Ex. BU-da-pest, FOR-tu-nate
Caesura: (plural: caesurae) a pause separating cadence groups (however brief) within a line. If the pause is a result of the end of a line pause, then this is end-stopping.
Enjambement (enjambment): If a line has no punctuation at the end and runs over to the next line, it is called run-on or better yet, enjambement (enjambment).
Sound & Rhythm Elements in Poetry
Prosody is the study of sound and word choice in poetry.
Poems originally emerged from songs and music. Lyric poetry, for example, started as a "poem" spoken with the beautiful plucking of a 3-stringed harp called a lyre.
We hear poetry sung or spoken daily when we listen to the radio or to our favorite band.
Poems often have a distinct rhythm or pattern to their rhythm.
The rhythm of poetry includes: beat, meter, scansion
Rhythm (also called beat, metrics, versification, etc.) is the comparative speed and loudness in the flow of words spoken in poetic lines.
Words in poetry are selected, not just for content, but also sound or “musicality” of a line.
Placement in a line is also important.
Large units of words make up sentences and paragraph in prose; smaller units make up phrases or cadence groups. In poetry this is metrical feet.
Words are not read in isolation, but in small groups (cadence groups).
Ex. When lilacs last// in the dooryard bloom’d
And the great star// early droop’d
In the western sky// in the night.
Poems originally emerged from songs and music. Lyric poetry, for example, started as a "poem" spoken with the beautiful plucking of a 3-stringed harp called a lyre.
We hear poetry sung or spoken daily when we listen to the radio or to our favorite band.
Poems often have a distinct rhythm or pattern to their rhythm.
The rhythm of poetry includes: beat, meter, scansion
Rhythm (also called beat, metrics, versification, etc.) is the comparative speed and loudness in the flow of words spoken in poetic lines.
Words in poetry are selected, not just for content, but also sound or “musicality” of a line.
Placement in a line is also important.
Large units of words make up sentences and paragraph in prose; smaller units make up phrases or cadence groups. In poetry this is metrical feet.
Words are not read in isolation, but in small groups (cadence groups).
Ex. When lilacs last// in the dooryard bloom’d
And the great star// early droop’d
In the western sky// in the night.
Friday, October 31, 2008
Halloween!
Today we are going to watch a movie based on a short story by H.P. Lovecraft. Before you do, take a moment to look at this brief bio.
H. P. Lovecraft
(1890-1937)
Hailed as the 20th century Poe, H. P. Lovecraft wrote fantasy and horror in the best tradition of Poe, Blackwood, Dunsany, Hodgson, Stoker, and Machen. He was a contemporary friend or mentor to such authors as Robert E. Howard (Conan), August Derleth, Robert Bloch (Psycho), and many other regular contributors to the pulp magazine Weird Tales. Lovecraft singled out the best elements in the work of his literary anscestors and blended these into a unique style of his own -- a style that has, in turn, had many imitators and many more admirers throughout the world, including horror writers Stephen King, Clive Barker, Brian Lumley, Neil Gaiman, and Joyce Carol Oates. Lovecraft's style was in a twilight area between horror and science fiction, an area that Lovecraft excelled and made his contribution to the world of literature: an area he called "cosmic horror."
As extra credit (and for your own benefit), you may wish to peruse the link leading to Lovecraft's writing and read a few short stories. My favorites are: The Lurking Horror, The Whisperer in Darkness, and, of course, The Call of Cthulhu (probably his best known work). After reading a few samples, try your own hand at writing a "cosmic horror" story.
H. P. Lovecraft
(1890-1937)
Hailed as the 20th century Poe, H. P. Lovecraft wrote fantasy and horror in the best tradition of Poe, Blackwood, Dunsany, Hodgson, Stoker, and Machen. He was a contemporary friend or mentor to such authors as Robert E. Howard (Conan), August Derleth, Robert Bloch (Psycho), and many other regular contributors to the pulp magazine Weird Tales. Lovecraft singled out the best elements in the work of his literary anscestors and blended these into a unique style of his own -- a style that has, in turn, had many imitators and many more admirers throughout the world, including horror writers Stephen King, Clive Barker, Brian Lumley, Neil Gaiman, and Joyce Carol Oates. Lovecraft's style was in a twilight area between horror and science fiction, an area that Lovecraft excelled and made his contribution to the world of literature: an area he called "cosmic horror."
As extra credit (and for your own benefit), you may wish to peruse the link leading to Lovecraft's writing and read a few short stories. My favorites are: The Lurking Horror, The Whisperer in Darkness, and, of course, The Call of Cthulhu (probably his best known work). After reading a few samples, try your own hand at writing a "cosmic horror" story.
Monday, October 27, 2008
Poetic Terms and Advice About Beginning a Poem
You should learn and know the following terms:
Prose
Verse
Metrical verse
Unmetrical verse
Beginning a poem:
One thing to remember is that when beginning a poem, your real "poem" may not appear until later in the draft. Often the first few lines we write are the turning the key in the ignition, the release of the brake, the shifting into gears, the checking of the rear-view mirror, until pulling out of the driveway and getting onto the road. We may be far down the road before we realize we forgot our luggage.
In other words, the REAL opening of the poem, may not be the first line we write.
An opener, just like fiction, should grab our attention and provide us with information regarding what the theme or meaning behind the poem is, provide the reader with a setting, a speaker, and an occasion for the speaker to speak.
There is no one way in which to write a good poem.
Getting started can be difficult. If you have one of these problems consider the solution:
Writer's Block: lower your standards. Just write through it; you may have to cut a lot afterwards, but you'll at least have something written. Don't let writer's block be an excuse. Poets write hundreds of bad poems to write one good one.
Busy: Set aside time to write. Make this time sacred. You are fortunate in that you have 40 minutes everyday set aside for you to write. Use it!
Not sure what to write or what your subject is: try automatic writing, freewriting, brainstorming, etc. Use your journal to come up with ideas. None of these have to be good to start off with. But by the time you have crafted your work, it should be presentable and good enough to share.
Not sure what to write or what your subject is: try reading other poems. Then borrow ideas or subjects. Don't copy, but borrow words and put them in different order, steal a subject, a setting, a conflict, etc. Then write it your way!
It may help to answer these questions BEFORE you begin:
1. Who/What is my subject?
2. Who is my speaker (or voice)?
3. Where is my setting (where is my speaker speaking)?
4. Who is my speaker speaking to? (audience)
5. Why is my speaker speaking? (motivation)
Write a series of 1st draft poems. Go. Do it. Now. The muses are waiting.
Prose
Verse
Metrical verse
Unmetrical verse
Beginning a poem:
One thing to remember is that when beginning a poem, your real "poem" may not appear until later in the draft. Often the first few lines we write are the turning the key in the ignition, the release of the brake, the shifting into gears, the checking of the rear-view mirror, until pulling out of the driveway and getting onto the road. We may be far down the road before we realize we forgot our luggage.
In other words, the REAL opening of the poem, may not be the first line we write.
An opener, just like fiction, should grab our attention and provide us with information regarding what the theme or meaning behind the poem is, provide the reader with a setting, a speaker, and an occasion for the speaker to speak.
There is no one way in which to write a good poem.
Getting started can be difficult. If you have one of these problems consider the solution:
Writer's Block: lower your standards. Just write through it; you may have to cut a lot afterwards, but you'll at least have something written. Don't let writer's block be an excuse. Poets write hundreds of bad poems to write one good one.
Busy: Set aside time to write. Make this time sacred. You are fortunate in that you have 40 minutes everyday set aside for you to write. Use it!
Not sure what to write or what your subject is: try automatic writing, freewriting, brainstorming, etc. Use your journal to come up with ideas. None of these have to be good to start off with. But by the time you have crafted your work, it should be presentable and good enough to share.
Not sure what to write or what your subject is: try reading other poems. Then borrow ideas or subjects. Don't copy, but borrow words and put them in different order, steal a subject, a setting, a conflict, etc. Then write it your way!
It may help to answer these questions BEFORE you begin:
1. Who/What is my subject?
2. Who is my speaker (or voice)?
3. Where is my setting (where is my speaker speaking)?
4. Who is my speaker speaking to? (audience)
5. Why is my speaker speaking? (motivation)
Write a series of 1st draft poems. Go. Do it. Now. The muses are waiting.
Tuesday, October 21, 2008
Poem #1 - Draft #1
After reading Mary Oliver's chapter from her book The Art of Poetry on Diction, Tone, and Voice, please make sure you understand the following concepts:
The Contemporary Poem
Negative Capability
Lyric poem form
Narrative poem form
Long poem form
Prose poem form
Poetic diction
Cliche
Inversion
Informal language
Effective language
Free verse
Once you have a grasp of these terms, write the first draft of a free verse poem.
The Contemporary Poem
Negative Capability
Lyric poem form
Narrative poem form
Long poem form
Prose poem form
Poetic diction
Cliche
Inversion
Informal language
Effective language
Free verse
Once you have a grasp of these terms, write the first draft of a free verse poem.
Dialogue - The Finer Points
Dialogue: What is it good for?
• Fastest way to advance the action of the story
• Reveals characters & provides characterization
• Provides exposition in a more realistic way
• Effective dialogue depends on an ability to listen and develop an ear for the way people speak.
How Can I Make My Dialogue Sound Real?
• Speak in short sentences
• Speak in fragments
• Change the subject
• Digress
• Use Colloquialism/verisimilitude
• Answer questions with questions or avoid answering
• Ignore what’s being said by the other person
• Respond to things that haven’t been said
• Repeat words or expressions
Speaker Tags
Always use tags when it may be unclear who is speaking. In two person scenes tags may not be necessary after the first one or two.
3 Types of Tags:
1. Speaker Tag
• Use “said” or “says”. Avoid fancy verbs like “ejaculated” or “spit”, “hissed” or “screeched” (unless you are writing a parody or humorous story). Use fancy verbs sparingly.
• Avoid adverbs (LY words) that indicate how something was said. (she said greedily; he said nastily; we said conversationally; It said nervously; They said happily). Adverbs suggest that your writing is not clear.
2. Action Tag
• Identify a speaker with a sentence expressing action before or after a speech
• Allows reader to “see” what is going on during dialogue
• Provides characters with movement and therefore reveals character or detail
3. Thought Tag
• Express what your character thinks, feels, knows, or wonders.
Do NOT use: “she thought”; “They felt”; “We knew”; “He wondered”, etc. Simply state the opinion on the same line, right after the tag. Overuse of this indicates telling, rather than showing.
Punctuation
“We’re going to learn how to punctuate dialogue,” the teacher said.
A groan rose from the students.
One of them whispered to her neighbor, “Oh, no. Not again! This teacher is always trying to teach us. He should mind his own business and let us get some sleep.”
Many of the students were already yawning.
“Punctuation goes INSIDE the quotes ALWAYS!” the teacher said. “If the quote does not end in an exclamation point or question mark, then after the tag line you must include a period,” he added.
“What do you mean?”
“Simple,” the teacher explained. “When you do not have a tag at the end of a line of dialogue, you can stop with a period.”
“Of course, you would have to use a comma when the complete sentence has not yet been completed,” a student realized.
“Every time there is a new speaker start a new paragraph.” The teacher emphasized this point by pulling out his hair in tufts.
A student’s hand shot up. “What do you mean?”
“I mean every time a new character speaks....”
“Or interrupts?”
“Yes, or interrupts. A new paragraph must be started.” The teacher continued to talk about dialogue and punctuation. He answered any questions the students had. Then he said, “You see? It’s easy.” The teacher knew his students were beginning to understand. He didn’t need to start a new paragraph since he had been uninterrupted in his speech.
The student in the back row smiled. He said, “I see now. Commas are placed before the quotation when the tag comes in the FRONT of the quote.”
“Yes! Exactly,” the teacher said. “Or inside the quote when the tag comes at the end.” The teacher sipped his coffee, then added, “Just like I did just now.”
“This is simple!”
“Yes,” Shirley, a happy student in the front of the class, said. “This is simple.”
The students understood so well, in fact, that they never made another punctuation error when using dialogue.
“Hurrah!” The teacher gave everyone in the class an A when grades were due because they had learned so much!
The End
• Fastest way to advance the action of the story
• Reveals characters & provides characterization
• Provides exposition in a more realistic way
• Effective dialogue depends on an ability to listen and develop an ear for the way people speak.
How Can I Make My Dialogue Sound Real?
• Speak in short sentences
• Speak in fragments
• Change the subject
• Digress
• Use Colloquialism/verisimilitude
• Answer questions with questions or avoid answering
• Ignore what’s being said by the other person
• Respond to things that haven’t been said
• Repeat words or expressions
Speaker Tags
Always use tags when it may be unclear who is speaking. In two person scenes tags may not be necessary after the first one or two.
3 Types of Tags:
1. Speaker Tag
• Use “said” or “says”. Avoid fancy verbs like “ejaculated” or “spit”, “hissed” or “screeched” (unless you are writing a parody or humorous story). Use fancy verbs sparingly.
• Avoid adverbs (LY words) that indicate how something was said. (she said greedily; he said nastily; we said conversationally; It said nervously; They said happily). Adverbs suggest that your writing is not clear.
2. Action Tag
• Identify a speaker with a sentence expressing action before or after a speech
• Allows reader to “see” what is going on during dialogue
• Provides characters with movement and therefore reveals character or detail
3. Thought Tag
• Express what your character thinks, feels, knows, or wonders.
Do NOT use: “she thought”; “They felt”; “We knew”; “He wondered”, etc. Simply state the opinion on the same line, right after the tag. Overuse of this indicates telling, rather than showing.
Punctuation
“We’re going to learn how to punctuate dialogue,” the teacher said.
A groan rose from the students.
One of them whispered to her neighbor, “Oh, no. Not again! This teacher is always trying to teach us. He should mind his own business and let us get some sleep.”
Many of the students were already yawning.
“Punctuation goes INSIDE the quotes ALWAYS!” the teacher said. “If the quote does not end in an exclamation point or question mark, then after the tag line you must include a period,” he added.
“What do you mean?”
“Simple,” the teacher explained. “When you do not have a tag at the end of a line of dialogue, you can stop with a period.”
“Of course, you would have to use a comma when the complete sentence has not yet been completed,” a student realized.
“Every time there is a new speaker start a new paragraph.” The teacher emphasized this point by pulling out his hair in tufts.
A student’s hand shot up. “What do you mean?”
“I mean every time a new character speaks....”
“Or interrupts?”
“Yes, or interrupts. A new paragraph must be started.” The teacher continued to talk about dialogue and punctuation. He answered any questions the students had. Then he said, “You see? It’s easy.” The teacher knew his students were beginning to understand. He didn’t need to start a new paragraph since he had been uninterrupted in his speech.
The student in the back row smiled. He said, “I see now. Commas are placed before the quotation when the tag comes in the FRONT of the quote.”
“Yes! Exactly,” the teacher said. “Or inside the quote when the tag comes at the end.” The teacher sipped his coffee, then added, “Just like I did just now.”
“This is simple!”
“Yes,” Shirley, a happy student in the front of the class, said. “This is simple.”
The students understood so well, in fact, that they never made another punctuation error when using dialogue.
“Hurrah!” The teacher gave everyone in the class an A when grades were due because they had learned so much!
The End
Wednesday, October 15, 2008
Unit Test: Fiction
There will be a unit test on the craft of fiction, Friday, Oct. 17. The test will cover the following:
The Writing Process
Writing problems (the enemies of the writing process)
The Hook
Techniques in opening fiction/short stories
Plot: exposition, inciting incident, rising action, crises, turning point (climax), falling action, resolution (denouement), etc.
Plot structure
Character (dynamic, flat, round, stereotype, minor, major, protagonist, antagonist, foil, hero/heroinne, villain, antihero, etc.)
Finding a Fictional character
Characterization
Setting (interior, exterior, locale, weather, time period, natural, manufactured, etc.)
Function of setting
Regional writers
Endings (types of endings)
POV
Conflict
Terms you should be aware of (and know from previous classes):
Voice/Diction
Theme
Dialogue
The Oxford Book of American Short Stories:
Please read and prepare to answer questions on:
The Tell-Tale Heart (pp. 91-96)
Yellow Wallpaper (pp. 153-169)
Sweat (pp. 352-364)
The Writing Process
Writing problems (the enemies of the writing process)
The Hook
Techniques in opening fiction/short stories
Plot: exposition, inciting incident, rising action, crises, turning point (climax), falling action, resolution (denouement), etc.
Plot structure
Character (dynamic, flat, round, stereotype, minor, major, protagonist, antagonist, foil, hero/heroinne, villain, antihero, etc.)
Finding a Fictional character
Characterization
Setting (interior, exterior, locale, weather, time period, natural, manufactured, etc.)
Function of setting
Regional writers
Endings (types of endings)
POV
Conflict
Terms you should be aware of (and know from previous classes):
Voice/Diction
Theme
Dialogue
The Oxford Book of American Short Stories:
Please read and prepare to answer questions on:
The Tell-Tale Heart (pp. 91-96)
Yellow Wallpaper (pp. 153-169)
Sweat (pp. 352-364)
Tuesday, October 7, 2008
Final Draft of Short Story #1 - Project
Please complete draft #4 of your story project. This assignment is finally due Thursday, October 9 and will remain a major grade for this marking period.
In draft #4, you are being asked to consider plot and setting in your fiction. Setting and plot should work together with your character, beginning and ending skills. All four drafts will be collected in your portfolio for this term. Also included in the portfolio will be both drafts of your baseline project. Further questions, please see me.
In draft #4, you are being asked to consider plot and setting in your fiction. Setting and plot should work together with your character, beginning and ending skills. All four drafts will be collected in your portfolio for this term. Also included in the portfolio will be both drafts of your baseline project. Further questions, please see me.
Setting (...continued)
Setting
Setting is the when and where your story takes place.
Apart from Character and Plot, Setting is one of the most important elements in your writing.
Setting refers to:
• The location (locale) or place the story is set
• The weather (including the season)
• The time
• The time period (historical period)
What is a regional writer?
• A regional writer chooses to set all of his/her stories in one general place or time period. This place usually reflects how the author grew up.
Regional writers include:
• William Faulkner
• Stephen King
• H.P. Lovecraft
• Flannery O’Connor
• Bharakti Mukerjee
• Eudora Welty
Types of Setting:
• Interior: locales INSIDE. Symbolically often refers to private/domestic issues.
• Exterior: locales OUTSIDE. Symbolically often refers to societal issues.
Function of Setting:
1. Setting as Antagonist.
• Settings can cause problems/conflict for characters
2. Setting as reflection of mindset or ideology of one of your characters (often your protagonist)
3. Setting as character portrait
• Settings reflect or contrast character’s wants/desires, goals
4. Setting as quality of narrative vision
• Setting establishes trust between storyteller and audience
• Description of setting helps reader visualize the fictional world
5. Setting as reflection of theme or idea
6. Setting as reflection of conflict
7. Setting as mood or atmosphere
8. Setting as foreshadowing of plot
9. Setting as beginning and ending (establishing and closing shot…or frame)
Setting is the when and where your story takes place.
Apart from Character and Plot, Setting is one of the most important elements in your writing.
Setting refers to:
• The location (locale) or place the story is set
• The weather (including the season)
• The time
• The time period (historical period)
What is a regional writer?
• A regional writer chooses to set all of his/her stories in one general place or time period. This place usually reflects how the author grew up.
Regional writers include:
• William Faulkner
• Stephen King
• H.P. Lovecraft
• Flannery O’Connor
• Bharakti Mukerjee
• Eudora Welty
Types of Setting:
• Interior: locales INSIDE. Symbolically often refers to private/domestic issues.
• Exterior: locales OUTSIDE. Symbolically often refers to societal issues.
Function of Setting:
1. Setting as Antagonist.
• Settings can cause problems/conflict for characters
2. Setting as reflection of mindset or ideology of one of your characters (often your protagonist)
3. Setting as character portrait
• Settings reflect or contrast character’s wants/desires, goals
4. Setting as quality of narrative vision
• Setting establishes trust between storyteller and audience
• Description of setting helps reader visualize the fictional world
5. Setting as reflection of theme or idea
6. Setting as reflection of conflict
7. Setting as mood or atmosphere
8. Setting as foreshadowing of plot
9. Setting as beginning and ending (establishing and closing shot…or frame)
Friday, October 3, 2008
Setting - part one
Setting: The natural and artificial scenery or environment in which characters in literature live and move.
Setting includes:
• Artifacts or Props (the things characters use)
• Clothes (the things characters wear)
• Time of day, conditions of the weather
• Geography and location
• Trees, animals, and nature
• Inside and outside sounds, smells
• All physical and temporal objects
In short: setting refers to all the places and objects that are important in the work, whether natural or manufactured.
Types of Settings:
1. Natural
Nature shapes action and directs and redirects lives.
2. Manufactured
Manufactured things always reflect the people who made them.
Possessions often enter into character motivation and development.
Setting includes:
• Artifacts or Props (the things characters use)
• Clothes (the things characters wear)
• Time of day, conditions of the weather
• Geography and location
• Trees, animals, and nature
• Inside and outside sounds, smells
• All physical and temporal objects
In short: setting refers to all the places and objects that are important in the work, whether natural or manufactured.
Types of Settings:
1. Natural
Nature shapes action and directs and redirects lives.
2. Manufactured
Manufactured things always reflect the people who made them.
Possessions often enter into character motivation and development.
Announcement - Required Projects
The following is a schedule of due dates and homework assignments so far as of October 6 for the first marking period (which ends 10/17). Those entries in BOLD can still be turned in for partial credit. The deadline for those in italics has passed and cannot be made up this marking period.
Major Projects:
Baseline piece (draft #1) due 9/8
Baseline piece (draft #2 - revision)due 9/12
Short Story #1, draft #1 (composition) due 9/24
Short Story #1,draft #2 (rewrite, expansion) due 9/30Short Story #1, draft #3 (rewrite, edit) due 10/3
Homework assignments: (all from the Oxford Book of American Short Stories)
9/12 - Town Smokes, The House on Mango Street, Gravity (pp. 741-750)
Respond to each story. Focus on how the author begins the story. How does this beginning foreshadow the end, or hook the audience?
9/16 - The Management of Grief, Two Kinds, Fleur (pp. 697-740)
No written homework. Just read and enjoy.
9/18 Big Bertha Stories, Fever (pp. 655-696)
For each story, examine how the author characterizes one character in the story.
9/23 Hunters in the Snow, The Things They Carried (pp. 620-654)
Choose one of the 2 stories and respond to the story's protagonist/character.
9/25 The Shawl, Heat (pp. 601-619)
Choose 1 story to examine a foil, choose the other story to examine an antagonist.
9/29 Texts, The School, The Persistence of Desire, Alaska, Are These Actual Miles, Yellow Woman (pp. 552-600)
No written homework. Just read and enjoy.
10/1 My Son the Murderer, Something to Remember Me By, The Death of Justina (pp. 504-551)
For each story examine and comment on the type of ending.
10/3 Rain in the Heart, Where is the Voice Coming From, The Lecture (pp. 463-503)
Choose one of the stories and examine its plot.
10/6 There Will Come Soft Rains (pp. 456-461)
Examine and comment on the use of setting to reflect theme in the story.
10/8 Quiz: Sonny's Blues (pp. 408-439)(there will be a pop quiz on this story involving character, setting, and plot.)
10/14 Red-Headed Baby, Battle Royal, The Man Who Was Almost a Man, A Distant Episode, A Late Enounter with the Enemy (pp. 365-397)
Just read and enjoy.
10/16 Sweat, The Yellow Wallpaper, The Tell-Tale Heart
Quiz: answer questions about plot, character, setting, theme, and openings, endings, voice, POV.
Major Projects:
Baseline piece (draft #1) due 9/8
Baseline piece (draft #2 - revision)due 9/12
Short Story #1, draft #1 (composition) due 9/24
Short Story #1,draft #2 (rewrite, expansion) due 9/30Short Story #1, draft #3 (rewrite, edit) due 10/3
Homework assignments: (all from the Oxford Book of American Short Stories)
9/12 - Town Smokes, The House on Mango Street, Gravity (pp. 741-750)
Respond to each story. Focus on how the author begins the story. How does this beginning foreshadow the end, or hook the audience?
9/16 - The Management of Grief, Two Kinds, Fleur (pp. 697-740)
No written homework. Just read and enjoy.
9/18 Big Bertha Stories, Fever (pp. 655-696)
For each story, examine how the author characterizes one character in the story.
9/23 Hunters in the Snow, The Things They Carried (pp. 620-654)
Choose one of the 2 stories and respond to the story's protagonist/character.
9/25 The Shawl, Heat (pp. 601-619)
Choose 1 story to examine a foil, choose the other story to examine an antagonist.
9/29 Texts, The School, The Persistence of Desire, Alaska, Are These Actual Miles, Yellow Woman (pp. 552-600)
No written homework. Just read and enjoy.
10/1 My Son the Murderer, Something to Remember Me By, The Death of Justina (pp. 504-551)
For each story examine and comment on the type of ending.
10/3 Rain in the Heart, Where is the Voice Coming From, The Lecture (pp. 463-503)
Choose one of the stories and examine its plot.
10/6 There Will Come Soft Rains (pp. 456-461)
Examine and comment on the use of setting to reflect theme in the story.
10/8 Quiz: Sonny's Blues (pp. 408-439)(there will be a pop quiz on this story involving character, setting, and plot.)
10/14 Red-Headed Baby, Battle Royal, The Man Who Was Almost a Man, A Distant Episode, A Late Enounter with the Enemy (pp. 365-397)
Just read and enjoy.
10/16 Sweat, The Yellow Wallpaper, The Tell-Tale Heart
Quiz: answer questions about plot, character, setting, theme, and openings, endings, voice, POV.
Wednesday, October 1, 2008
Plot and Structure
Plot, Conflict & Structure
The actions or incidents occurring in a story (usually in chronological order).
Without plot, we do not have a story. A plot is a plan or groundwork of human motivations, with the actions resulting from believable and realistic human responses. In simple terms, plot deals with CAUSE and EFFECT.
E.M. Forester:
“The king died, and then the queen died.”
To have a good plot, a sequence of events must include motivation which is based on reaction to action.
“The king died, and then the queen died of grief.”
Events and time in a story are not important in and of themselves but because one thing happens because of another thing (i.e. cause and effect).
Conflict is the essential element of plot because this is where human responses are brought out to their highest degree.
Once two (or more) forces are in opposition, there is doubt about the outcome, thus producing tension and suspense as well.
Plot Structure: The arrangement and placement of materials within a narrative or drama.
Plot: Describes the conflicts in a story or narrative.
Structure deals with the way a work is laid out and given form to bring out the conflict.
Categories of Plot Structure:
Exposition
Rising Action/Complication
Crisis or turning point
Climax
Denouement/falling action/resolution
The actions or incidents occurring in a story (usually in chronological order).
Without plot, we do not have a story. A plot is a plan or groundwork of human motivations, with the actions resulting from believable and realistic human responses. In simple terms, plot deals with CAUSE and EFFECT.
E.M. Forester:
“The king died, and then the queen died.”
To have a good plot, a sequence of events must include motivation which is based on reaction to action.
“The king died, and then the queen died of grief.”
Events and time in a story are not important in and of themselves but because one thing happens because of another thing (i.e. cause and effect).
Conflict is the essential element of plot because this is where human responses are brought out to their highest degree.
Once two (or more) forces are in opposition, there is doubt about the outcome, thus producing tension and suspense as well.
Plot Structure: The arrangement and placement of materials within a narrative or drama.
Plot: Describes the conflicts in a story or narrative.
Structure deals with the way a work is laid out and given form to bring out the conflict.
Categories of Plot Structure:
Exposition
Rising Action/Complication
Crisis or turning point
Climax
Denouement/falling action/resolution
Tuesday, September 30, 2008
Endings
Endings can be:
Circular: The beginning and the end reflect upon one another, often using the same situation, setting, characterization, or even repeating the same line or idea presented in the opening. This provides a sense of parallelism in your story structure. It is best used when suggesting that the past and future of a character/story is similar.
Matching vs. Nonmatching: similar to a circular ending, the first image is transformed, and is repeated at the end. This is most like the pattern in music: theme and variation. The first image of the story foreshadows or suggests the last image. Sometimes this is obvious, othertimes the image is subtle.
Surprise ending: Often an ironic ending, or an ending that surprises the reader. The American writer O.Henry was a master of this kind of ending. It is often found in horror/suspense or mystery fiction. The "surprise" needs to be planned by the writer, who should include details that prepare the reader for the surprise, instead of "shocking" the reader, who usually resents this strategy.
Summary ending: A summary of the outcome of the story – this kind of story wraps the plot up very tightly, suggesting the future for the characters. No loose ends. This sort of ending has fallen out of favor lately, so use it at your own peril.
Open ending: used largely in contemporary fiction, the story doesn’t end nice and neatly (like the summary ending). Instead, it leaves an important question posed to the reader, so that the reader must interpret the ending. Caution: this can sometimes confuse a reader. It is best used for subtle effect.
Ending with an image/idea: ending a story with an important detailed image or idea that reflects the theme of the story can "stain" the idea or image in the mind of the reader.
Circular: The beginning and the end reflect upon one another, often using the same situation, setting, characterization, or even repeating the same line or idea presented in the opening. This provides a sense of parallelism in your story structure. It is best used when suggesting that the past and future of a character/story is similar.
Matching vs. Nonmatching: similar to a circular ending, the first image is transformed, and is repeated at the end. This is most like the pattern in music: theme and variation. The first image of the story foreshadows or suggests the last image. Sometimes this is obvious, othertimes the image is subtle.
Surprise ending: Often an ironic ending, or an ending that surprises the reader. The American writer O.Henry was a master of this kind of ending. It is often found in horror/suspense or mystery fiction. The "surprise" needs to be planned by the writer, who should include details that prepare the reader for the surprise, instead of "shocking" the reader, who usually resents this strategy.
Summary ending: A summary of the outcome of the story – this kind of story wraps the plot up very tightly, suggesting the future for the characters. No loose ends. This sort of ending has fallen out of favor lately, so use it at your own peril.
Open ending: used largely in contemporary fiction, the story doesn’t end nice and neatly (like the summary ending). Instead, it leaves an important question posed to the reader, so that the reader must interpret the ending. Caution: this can sometimes confuse a reader. It is best used for subtle effect.
Ending with an image/idea: ending a story with an important detailed image or idea that reflects the theme of the story can "stain" the idea or image in the mind of the reader.
#1 Short Story Draft Projects
Short Story - Draft #1
Using your journal or the exercises we wrote in class, compose a short story. Your short story can be any genre or length, deal with any issue you wish to write about. It is completely up to you.
Short Story – Draft #2
Write draft #2 of your current short story. Your second draft should expand your first draft by about 50%. Add details, scenes, dialogue, plot elements, description, literary devices, etc. where appropriate.
For your second draft, focus on character. Remove minor characters or characters who do not add to the story. Flesh out your protagonist (perhaps shift POV) so that he/she has a stake in the story, a goal to achieve. Rewrite and remove static or 2-dimensional (flat) or stereotypical characters. Use a foil to enhance your protagonist. Develop your characters through characterization.
Short Story – Draft #3
Write draft #3 of your current short story. Your third draft should cut and reduce non-essential material in your current draft. Remove tired language, clichés, scenes that are irrelevant or not significant to building characterization, plot, or theme. Correct grammar and awkward syntax. Try to reduce redundant or weak description. Try to reduce your 2nd draft by about 25%.
Using your journal or the exercises we wrote in class, compose a short story. Your short story can be any genre or length, deal with any issue you wish to write about. It is completely up to you.
Short Story – Draft #2
Write draft #2 of your current short story. Your second draft should expand your first draft by about 50%. Add details, scenes, dialogue, plot elements, description, literary devices, etc. where appropriate.
For your second draft, focus on character. Remove minor characters or characters who do not add to the story. Flesh out your protagonist (perhaps shift POV) so that he/she has a stake in the story, a goal to achieve. Rewrite and remove static or 2-dimensional (flat) or stereotypical characters. Use a foil to enhance your protagonist. Develop your characters through characterization.
Short Story – Draft #3
Write draft #3 of your current short story. Your third draft should cut and reduce non-essential material in your current draft. Remove tired language, clichés, scenes that are irrelevant or not significant to building characterization, plot, or theme. Correct grammar and awkward syntax. Try to reduce redundant or weak description. Try to reduce your 2nd draft by about 25%.
Finding Your Fictional Character
Finding a fictional character
Readers want characters who are recognizable; most similar to themselves.
Where to find a fictional character:
• From your own personality (autobiographical)
• From your own family, friends, acquaintances, peers, neighborhood (biographical)
• From psychology textbooks
• From astrology charts and columns
• From mythology or legends
• From the Bible
• From other stories you read, or novels you read
• From other media
• From your imagination
Most writers fuse autobiographical with biographical sources to create a fusion of character “traits” or what is essentially “characterization.”
Characterization: How do I show character in a story?
• Summarize history or background, or describe physical or mental traits (character/self-portrait)
o Why use it? It develops character quickly all at once, allowing the writer to move on to the plot, setting, conflict, etc.
o Beware:
this sort of thing leads to telling, not showing
you are essentially asking the reader to wait to continue or go further with the plot, conflict, dialogue, or other elements that move a story along
It can slow the pace of your story down
• Repeat an action or habit (including what they say or dialogue)
o Why use it? Allows reader to understand what a character normally does in a given situation; particularly useful if your character will soon do something “out of character.” Helps develop theme & dialogue moves plot
o Beware:
The habit or action should be essential to the motivation of the character, a plot point, or reveal setting, symbol, or conflict
• Describe appearance
o Why use it? When you describe appearance, you suggest characterization to your reader through recognizable symbols
o Beware:
As “action/habit” above
• Describe a scene
o Why use it? Moves the plot, conflict, etc. along quickly; sets your character in motion without needing to summarize or generalize.
• Combination of all methods
Readers want characters who are recognizable; most similar to themselves.
Where to find a fictional character:
• From your own personality (autobiographical)
• From your own family, friends, acquaintances, peers, neighborhood (biographical)
• From psychology textbooks
• From astrology charts and columns
• From mythology or legends
• From the Bible
• From other stories you read, or novels you read
• From other media
• From your imagination
Most writers fuse autobiographical with biographical sources to create a fusion of character “traits” or what is essentially “characterization.”
Characterization: How do I show character in a story?
• Summarize history or background, or describe physical or mental traits (character/self-portrait)
o Why use it? It develops character quickly all at once, allowing the writer to move on to the plot, setting, conflict, etc.
o Beware:
this sort of thing leads to telling, not showing
you are essentially asking the reader to wait to continue or go further with the plot, conflict, dialogue, or other elements that move a story along
It can slow the pace of your story down
• Repeat an action or habit (including what they say or dialogue)
o Why use it? Allows reader to understand what a character normally does in a given situation; particularly useful if your character will soon do something “out of character.” Helps develop theme & dialogue moves plot
o Beware:
The habit or action should be essential to the motivation of the character, a plot point, or reveal setting, symbol, or conflict
• Describe appearance
o Why use it? When you describe appearance, you suggest characterization to your reader through recognizable symbols
o Beware:
As “action/habit” above
• Describe a scene
o Why use it? Moves the plot, conflict, etc. along quickly; sets your character in motion without needing to summarize or generalize.
• Combination of all methods
Tips About Beginning a Story
Beginning a Story
A beginning promises more to come. It should hook our attention, allow us entrance into the world of the story. Beginnings need to be full of potential for the characters (and the reader). Some simple ways writers do this is the following (taken from The Fiction Writer's Workshop by Josip Novakovich)
Setting: setting sets the stage and raises our expectations, introduces us to location, time, and supports character, tone, mood and POV.
On the pleasant shore of the French Riviera, about half-way between Marseilles and the Italian border, stands a large, proud, rose-colored hotel. Deferential palms cool its flushed façade, and before it stretches a short dazzling beach. Lately it has become a summer resort of notable and fashionable people.
Ideas: While this can sometimes be dry or essay-like, it can also characterize a speaker, a place, an important motif or tone of a story.
“Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them…”
Imagistic or Strong Sensations: Imagery invites your reader to experience your narrative, giving you a good start. It also helps establish setting, usually.
1956. The air-conditioned darkness of the Avenue Theater smells of flowery pomade, sugary chocolates, cigarette smoke, and sweat.
A Need or Motive: Need is essential for all major characters. It is usually what drives the
conflict and characterization, also the plot in a story. Starting off with a motive or need is
the fastest way to learn what characters want.
On his way to the station William remembered with a fresh pang of disappointment that he was taking nothing down to the kiddies. Their first words always were as they ran to greet him, “What have you got for me, daddy?” and he had nothing.
Action: Action catches our attention.
The pass was high and wide and he jumped for it, feeling it slap flatly against his hands, as he shook his hips to throw off the halfback who was diving at him.
Scene: Usually in one sentence, combines action, setting, and character.
Card-playing was going on in the quarters of Narumov, an officer in the Guards.
Symbolic Object: Describe an object that has significance to your story, characters, plot. Usually a reader will recognize the importance of an object if mentioned in the first paragraph of a story.
An antique sleigh stood in the yard, snow after snow banked up against its eroded runners.
Sex: Sex sells. It also gets our attention.
After I became a prostitute, I had to deal with penises of every imaginable shape and size.
Character portrait: Introduces a reader to your protagonist or an important character.
The girl’s scalp looked as though it had been singed by fire—strands of thatchy red hair snaked away from her face, then settled against her skin, pasted there by sweat and sunscreen and the blown grit and dust of travel.
Character’s Thoughts: Like a portrait, this one’s internal.
If I am out of my mind, it’s all right with me, thought Moses Herzog.
Question: A direct way to motivate the reader, who often wants to know the answer to a posed question.
“Well, Peter, any sign of them yet?”
Prediction: Creating an ominous tone, a prediction foreshadows or hints at the ultimate ending of a story.
Neither of the Grimes sisters would have a happy life, and looking back it always seemed that the trouble began with their parents’ divorce.
Anecdote: an anecdote (a short story) can introduce an important idea or theme, create a symbol, or set a particular tone.
The village of Ukleyevo lay in the ravine, so that only the belfry and the chimneys of the cotton mills could be seen from the highway and the railroad station. When passers-by would ask what village it was, they were told: “that’s the one where the sexton ate up all the caviar at the funeral.”
A beginning promises more to come. It should hook our attention, allow us entrance into the world of the story. Beginnings need to be full of potential for the characters (and the reader). Some simple ways writers do this is the following (taken from The Fiction Writer's Workshop by Josip Novakovich)
Setting: setting sets the stage and raises our expectations, introduces us to location, time, and supports character, tone, mood and POV.
On the pleasant shore of the French Riviera, about half-way between Marseilles and the Italian border, stands a large, proud, rose-colored hotel. Deferential palms cool its flushed façade, and before it stretches a short dazzling beach. Lately it has become a summer resort of notable and fashionable people.
Ideas: While this can sometimes be dry or essay-like, it can also characterize a speaker, a place, an important motif or tone of a story.
“Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else. You can only form the minds of reasoning animals upon Facts: nothing else will ever be of any service to them…”
Imagistic or Strong Sensations: Imagery invites your reader to experience your narrative, giving you a good start. It also helps establish setting, usually.
1956. The air-conditioned darkness of the Avenue Theater smells of flowery pomade, sugary chocolates, cigarette smoke, and sweat.
A Need or Motive: Need is essential for all major characters. It is usually what drives the
conflict and characterization, also the plot in a story. Starting off with a motive or need is
the fastest way to learn what characters want.
On his way to the station William remembered with a fresh pang of disappointment that he was taking nothing down to the kiddies. Their first words always were as they ran to greet him, “What have you got for me, daddy?” and he had nothing.
Action: Action catches our attention.
The pass was high and wide and he jumped for it, feeling it slap flatly against his hands, as he shook his hips to throw off the halfback who was diving at him.
Scene: Usually in one sentence, combines action, setting, and character.
Card-playing was going on in the quarters of Narumov, an officer in the Guards.
Symbolic Object: Describe an object that has significance to your story, characters, plot. Usually a reader will recognize the importance of an object if mentioned in the first paragraph of a story.
An antique sleigh stood in the yard, snow after snow banked up against its eroded runners.
Sex: Sex sells. It also gets our attention.
After I became a prostitute, I had to deal with penises of every imaginable shape and size.
Character portrait: Introduces a reader to your protagonist or an important character.
The girl’s scalp looked as though it had been singed by fire—strands of thatchy red hair snaked away from her face, then settled against her skin, pasted there by sweat and sunscreen and the blown grit and dust of travel.
Character’s Thoughts: Like a portrait, this one’s internal.
If I am out of my mind, it’s all right with me, thought Moses Herzog.
Question: A direct way to motivate the reader, who often wants to know the answer to a posed question.
“Well, Peter, any sign of them yet?”
Prediction: Creating an ominous tone, a prediction foreshadows or hints at the ultimate ending of a story.
Neither of the Grimes sisters would have a happy life, and looking back it always seemed that the trouble began with their parents’ divorce.
Anecdote: an anecdote (a short story) can introduce an important idea or theme, create a symbol, or set a particular tone.
The village of Ukleyevo lay in the ravine, so that only the belfry and the chimneys of the cotton mills could be seen from the highway and the railroad station. When passers-by would ask what village it was, they were told: “that’s the one where the sexton ate up all the caviar at the funeral.”
Character & Characterization
Characters and Characterization
Choosing a POV for your character:
Major Question: Who is the story about?
--Someone who is most interesting
--Someone who is involved in the action of the story
--Someone who has the most to gain or lose from the event
1st Person POV: Main character is the narrator (good subjectivity, but lacks objectivity, limited to one character’s mind)
2nd Person POV: Main character is the “reader”, used through an objective and omniscient “I” narrator (difficult to maintain for a long time, reader must be willing to play the part, difficult to reach into reader’s mind)
Third Person POV: Omniscient or Limited
Omniscient narrators can tell the story of many characters, but this can be confusing. The reader may not know who the story is about or whose conflict is important.
A limited POV allows the writer to focus on one particular character. The story told is the story of that character. Consistent POV gives a story coherence. Inconsistent POV confuses the reader.
Character:
Hero/Heroine: The main character of a story
Villain: The character who opposes the main character
Antihero: A normal, ordinary character
Protagonist: The main character of a story
Antagonist: The opponent of the protagonist
Foil: Either one who is opposite to the main character or nearly the same as the main character. The purpose of the foil character is to emphasize the traits of the main character by contrast, and perhaps by setting up situations in which the protagonist can show his or her character traits. A foil is a secondary character who contrasts with a major character but, in so doing, highlights various facets of the main character's personality.
Characters can be either major or minor, round or flat.
Major characters are characters who are important to the conflict and plot of the story. They often have motivations linked with the main conflict
Minor characters are characters who are not necessarily important to the story. They often are used to develop the main characters or to provide rising action or complications to the plot.
Round characters have a distinct motivation and personality or “voice”; Often they are complex and dynamic (they change through the conflict of the story)
Flat characters are characters that do not change significantly through the conflict of the plot. Sometimes the reader knows or cares little about them because of lack of detail or purpose.
Stereotypes: Characters who are generally recognized as a “type”; These characters lack individuality and often can be boring because we already know how they will act and why.
Ways to develop character:
Characterization: Physical characteristics and personality characteristics which develop the individualization of a character.
Motivation: reasons for the character to act in the story
Dialogue: What characters say helps to develop them
What other characters say about a character also helps develop them
Action: Describing the actions of a character helps develop them (allows writer to show not tell)
Choosing a POV for your character:
Major Question: Who is the story about?
--Someone who is most interesting
--Someone who is involved in the action of the story
--Someone who has the most to gain or lose from the event
1st Person POV: Main character is the narrator (good subjectivity, but lacks objectivity, limited to one character’s mind)
2nd Person POV: Main character is the “reader”, used through an objective and omniscient “I” narrator (difficult to maintain for a long time, reader must be willing to play the part, difficult to reach into reader’s mind)
Third Person POV: Omniscient or Limited
Omniscient narrators can tell the story of many characters, but this can be confusing. The reader may not know who the story is about or whose conflict is important.
A limited POV allows the writer to focus on one particular character. The story told is the story of that character. Consistent POV gives a story coherence. Inconsistent POV confuses the reader.
Character:
Hero/Heroine: The main character of a story
Villain: The character who opposes the main character
Antihero: A normal, ordinary character
Protagonist: The main character of a story
Antagonist: The opponent of the protagonist
Foil: Either one who is opposite to the main character or nearly the same as the main character. The purpose of the foil character is to emphasize the traits of the main character by contrast, and perhaps by setting up situations in which the protagonist can show his or her character traits. A foil is a secondary character who contrasts with a major character but, in so doing, highlights various facets of the main character's personality.
Characters can be either major or minor, round or flat.
Major characters are characters who are important to the conflict and plot of the story. They often have motivations linked with the main conflict
Minor characters are characters who are not necessarily important to the story. They often are used to develop the main characters or to provide rising action or complications to the plot.
Round characters have a distinct motivation and personality or “voice”; Often they are complex and dynamic (they change through the conflict of the story)
Flat characters are characters that do not change significantly through the conflict of the plot. Sometimes the reader knows or cares little about them because of lack of detail or purpose.
Stereotypes: Characters who are generally recognized as a “type”; These characters lack individuality and often can be boring because we already know how they will act and why.
Ways to develop character:
Characterization: Physical characteristics and personality characteristics which develop the individualization of a character.
Motivation: reasons for the character to act in the story
Dialogue: What characters say helps to develop them
What other characters say about a character also helps develop them
Action: Describing the actions of a character helps develop them (allows writer to show not tell)
Baseline Project
Baseline Piece - Draft #2
In draft one, you wrote a poem, short story, scene/script, or creative non-fiction piece. Effectively, this was freewriting, generating new material, and composing (the first two steps in the writing process).
Start a 2nd draft. Please label this draft as draft 2. Do not save over your original draft.
In draft two, I’d like to you to “find the story” of your poem, short story, script, or non-fiction. To find the “story” identify:
a. What the major conflict of your story is.
b. What the main character of your story is (and why).
c. What the most important scene in your story is.
d. What you want to say (theme) about the human condition in your story.
e. What your setting is in your story.
At the top of your 2nd draft, write a short paragraph answering A-E. This is for you, initially and will be removed later, (but I will be checking to see if you have written this important step). Skip a line or two.
After “finding the story” of your baseline piece, add details, scenes, other characters, description, setting, dialogue, etc. to your original draft. This will ultimately make your draft longer. As you write, you may also choose to remove or delete irrelevant material. Try to make sure you have included the answers to the question: “what is your story?”
Draft #2 is due 9/9.
In draft one, you wrote a poem, short story, scene/script, or creative non-fiction piece. Effectively, this was freewriting, generating new material, and composing (the first two steps in the writing process).
Start a 2nd draft. Please label this draft as draft 2. Do not save over your original draft.
In draft two, I’d like to you to “find the story” of your poem, short story, script, or non-fiction. To find the “story” identify:
a. What the major conflict of your story is.
b. What the main character of your story is (and why).
c. What the most important scene in your story is.
d. What you want to say (theme) about the human condition in your story.
e. What your setting is in your story.
At the top of your 2nd draft, write a short paragraph answering A-E. This is for you, initially and will be removed later, (but I will be checking to see if you have written this important step). Skip a line or two.
After “finding the story” of your baseline piece, add details, scenes, other characters, description, setting, dialogue, etc. to your original draft. This will ultimately make your draft longer. As you write, you may also choose to remove or delete irrelevant material. Try to make sure you have included the answers to the question: “what is your story?”
Draft #2 is due 9/9.
The Writing Process
The Writing Process
All writers go through a similar writing process. The five basic steps are examined below:
1. Coming up with an idea: Generating raw material freewriting Journal exercises Reading Experience Choosing the gem among the rocks (expanding and exploring the idea) Getting stuck and moving on
2. Writing the first draft: Composing and structuring Experiment with technique Decide on a genre Decide on the best structure to tell the story
3. Revising: developing meaning, Rereading your work to look for a deeper meaning, Sharing your work in a readers’ circle/workshop, Getting feedback and response, Revision: transforming, rearranging, expanding, cutting
4. Editing: Fine cutting (cutting unnecessary words and paragraphs), Line by line editing, Reviewing word choice, Proofreading for errors
5. Publication: Preparing the manuscript for public perusal, Sending your manuscript out to publishers, The rejection letter/the acceptance letter, working with an editor/agent/publisher, Publication
All writers go through a similar writing process. The five basic steps are examined below:
1. Coming up with an idea: Generating raw material freewriting Journal exercises Reading Experience Choosing the gem among the rocks (expanding and exploring the idea) Getting stuck and moving on
2. Writing the first draft: Composing and structuring Experiment with technique Decide on a genre Decide on the best structure to tell the story
3. Revising: developing meaning, Rereading your work to look for a deeper meaning, Sharing your work in a readers’ circle/workshop, Getting feedback and response, Revision: transforming, rearranging, expanding, cutting
4. Editing: Fine cutting (cutting unnecessary words and paragraphs), Line by line editing, Reviewing word choice, Proofreading for errors
5. Publication: Preparing the manuscript for public perusal, Sending your manuscript out to publishers, The rejection letter/the acceptance letter, working with an editor/agent/publisher, Publication
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