Today, complete exericise 8.4 for your "third draft". Then go on to 8.5 and 8.6. Repeat a major event and assemble the best parts and pieces of all your drafts.
Exercise 8.2 asked you to 1). Come up with a few opening paragraphs that grip, and hook us as readers. 2). Write the story quickly.
Exercise 8.3 asked you to add dialogue, change the story to 1st person POV, then cut unnecessary events, characters, and plots until you have one story where your protagonist is in trouble.
Exercise 8.3 - part 2 asked you to start again. Tell the story over again, this time without referring to your previous drafts.
Exercise 8.4 is asking you to skip some time (a day, an hour, a week, etc.) and have one or two of your characters talk to the narrator (remember this was supposed to be first person POV). Avoid introducing new characters. Through the dialogue there should be a change indicated through the narrator.
Exercise 8.5 is asking you to assemble the entire story. Pick up the pieces and tell the story again, now knowing what your previous drafts have given you. Consider using white space (see pg. 164). A sample model of this is on pg. 164-166.
Go this far. If you completely finish, we are going to finish this story by inserting repetition (as stated in exercise 8.6). Good stories often have a circular element to them. Things described in the beginning often come back again at the end. Try this sort of thing in your last draft.
Friday, October 9, 2009
Wednesday, October 7, 2009
8.3 - Draft #3
You need a completed 2nd draft for this exercise. Start and complete that work if you haven't already done so.
Today, work on 8.3 - draft #3:
1. Take your two previous drafts.
2. Start again.
3. Begin by setting the story in place and time. Start in media res.
4. Tell a single incident or a series of brief incidents, moving the forward in time. Try a story that has more than one incident.
5. Place one character in addition to your narrator in the story.
See and read pages: 159-163 in your books for models.
Complete this draft.
Today, work on 8.3 - draft #3:
1. Take your two previous drafts.
2. Start again.
3. Begin by setting the story in place and time. Start in media res.
4. Tell a single incident or a series of brief incidents, moving the forward in time. Try a story that has more than one incident.
5. Place one character in addition to your narrator in the story.
See and read pages: 159-163 in your books for models.
Complete this draft.
Monday, October 5, 2009
Reading Groups - First Person POV stories
Today get into your reading groups (see earlier post). Together as a group, read the stories: All Girl Band, The Colonel, Vision out of the Corner of One Eye, I Didn't Do That, the Barbie Birthday, and Map of the Lost World.
Your draft one of exercise 8.2 asked you to create a distinct voice for a first person POV story. Discuss how each story tries to accomplish this. Additionally, look for the use of dialogue. How much dialogue is used and when is it most powerful? This will vary from story to story. Try to identify the different speaker tags as well. You should be able to name each one.
Once you have finished reading these stories, post a comment about what you learned about 1st person POV stories on our Forum.
Then work on draft 2 of the 8.2 exercise. Go on to exercise 8.3 if you are finished with the second draft.
Your draft one of exercise 8.2 asked you to create a distinct voice for a first person POV story. Discuss how each story tries to accomplish this. Additionally, look for the use of dialogue. How much dialogue is used and when is it most powerful? This will vary from story to story. Try to identify the different speaker tags as well. You should be able to name each one.
Once you have finished reading these stories, post a comment about what you learned about 1st person POV stories on our Forum.
Then work on draft 2 of the 8.2 exercise. Go on to exercise 8.3 if you are finished with the second draft.
8.2 - Draft 2.
In draft one (see below for instructions) you told a story from 1st person POV. In it you were asked to write without worrying about what you were writing, but keep writing until the story takes shape within the mess you created. You called and labeled this draft draft ONE. Now work on draft two of the same story.
Step two:
2. Cut your sentences down and combine them. Try to cut about 1/2 of what you just wrote. Keep only the most important information.
--Compress a string of actions into a sentence or two with a series of verbs
--Reduce dialogue to one or two important exchanges. Try to propel the action forward.
--Insert commentary, the internal self-talk of your character. Get inside the character's mind. This is the benefit of 1st person POV.
--Call this second step DRAFT TWO. Make sure you change the draft # and save BOTH copies: draft one and two.
Step Three:
3. If you finish with draft two, go on to complete draft 3.
--Create a central event. Narrate the major events that trouble your narrator (the voice you created in 8.2). Write dialogue tags with action and thoughts correctly.
NOTE: Start OVER. Use the same character, but put them in a different setting or at a different place and time. Include at least one other character. Include at least one scene with dialogue.
Step two:
2. Cut your sentences down and combine them. Try to cut about 1/2 of what you just wrote. Keep only the most important information.
--Compress a string of actions into a sentence or two with a series of verbs
--Reduce dialogue to one or two important exchanges. Try to propel the action forward.
--Insert commentary, the internal self-talk of your character. Get inside the character's mind. This is the benefit of 1st person POV.
--Call this second step DRAFT TWO. Make sure you change the draft # and save BOTH copies: draft one and two.
Step Three:
3. If you finish with draft two, go on to complete draft 3.
--Create a central event. Narrate the major events that trouble your narrator (the voice you created in 8.2). Write dialogue tags with action and thoughts correctly.
NOTE: Start OVER. Use the same character, but put them in a different setting or at a different place and time. Include at least one other character. Include at least one scene with dialogue.
Sunday, October 4, 2009
Dialogue
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,” Alaina, 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,” Alaina, 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
Thursday, October 1, 2009
Writer's Practice 8.2 - Creating Voice
The following explanation is also found in your books: "The Creative Writer's Craft" on pages: 154-158.
Using ONE of your three best openings/leads, write the first draft of a new short story.
Step One:
1. Introduce a character with a flaw and explore a dramatic situation in which that flaw or error is apparent.
--Choose an ordinary and natural situation
--Include action, dialogue, and your narrator's thoughts and feelings
--Write the story in present tense; Use first person POV.
Write the first draft quickly; do not hesitate or worry too much about its structure or incomplete elements. These will be smoothed over in the next draft. Simply write the story - from beginning to end. Try not to hesitate. Don't discard anything yet. Don't judge your work. Just write. See how much you can get with the time remaining in class. When you have this draft, name it DRAFT ONE, then move to the second step.
Step two:
2. Cut your sentences down and combine them. Try to cut about 1/2 of what you just wrote. Keep only the most important information.
--Compress a string of actions into a sentence or two with a series of verbs
--Reduce dialogue to one or two important exchanges. Try to propel the action forward.
--Insert commentary, the internal self-talk of your character. Get inside the character's mind. This is the benefit of 1st person POV.
--Call this second step DRAFT TWO. Make sure you change the draft # and save BOTH copies: draft one and two.
Go no further with this exercise. If you finish early in class, go back to your other short stories and work on these.
HOMEWORK: Please read pg. 149-159. Pay close attention to the information about how to write effective DIALOGUE.
Using ONE of your three best openings/leads, write the first draft of a new short story.
Step One:
1. Introduce a character with a flaw and explore a dramatic situation in which that flaw or error is apparent.
--Choose an ordinary and natural situation
--Include action, dialogue, and your narrator's thoughts and feelings
--Write the story in present tense; Use first person POV.
Write the first draft quickly; do not hesitate or worry too much about its structure or incomplete elements. These will be smoothed over in the next draft. Simply write the story - from beginning to end. Try not to hesitate. Don't discard anything yet. Don't judge your work. Just write. See how much you can get with the time remaining in class. When you have this draft, name it DRAFT ONE, then move to the second step.
Step two:
2. Cut your sentences down and combine them. Try to cut about 1/2 of what you just wrote. Keep only the most important information.
--Compress a string of actions into a sentence or two with a series of verbs
--Reduce dialogue to one or two important exchanges. Try to propel the action forward.
--Insert commentary, the internal self-talk of your character. Get inside the character's mind. This is the benefit of 1st person POV.
--Call this second step DRAFT TWO. Make sure you change the draft # and save BOTH copies: draft one and two.
Go no further with this exercise. If you finish early in class, go back to your other short stories and work on these.
HOMEWORK: Please read pg. 149-159. Pay close attention to the information about how to write effective DIALOGUE.
Powerful Lead Exercise
Today, before moving on to the major classroom assignment, let's grab our journals and do a little brainstorming exercise.
Write 3-5 powerful leads in your journal. Write a line that shows a character in conflict. This can be a small conflict--like a daily event. It doesn't have to be life threatening. Avoid dramatic issues.
A powerful lead will help establish character, action, and setting. A good lead will reveal point of view and create an inciting incident. All of these things are helpful in getting off to a good start when writing a story.
Remember that opening lines can follow various forms. We have stressed the "In Media Res" opening. But there are others. Please READ and REFER to the September 21 post on Tips About Beginning Stories. Know the different types of openings!
Write 3-5 powerful leads in your journal. We will use these in the next step of our writing process: composing/drafting.
Write 3-5 powerful leads in your journal. Write a line that shows a character in conflict. This can be a small conflict--like a daily event. It doesn't have to be life threatening. Avoid dramatic issues.
A powerful lead will help establish character, action, and setting. A good lead will reveal point of view and create an inciting incident. All of these things are helpful in getting off to a good start when writing a story.
Remember that opening lines can follow various forms. We have stressed the "In Media Res" opening. But there are others. Please READ and REFER to the September 21 post on Tips About Beginning Stories. Know the different types of openings!
Write 3-5 powerful leads in your journal. We will use these in the next step of our writing process: composing/drafting.
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