Taking Responsibility For Your Education:
If you miss your conferences you lose 2% a day. Up to 10% at which point I will remove 5% a day.
I have yet to meet with:
Ed
Trish
Courtney
If you are not prepared to conference on Monday you will receive a zero.
A final reminder, your sample chapters are due Wednesday May 5th, 2010 (no exceptions unless you have a medical note as this is a summative evaluation).
Monday we will be working in class with your chapters so please bring a printed hardcopy!
Have a great weekend!
Friday, April 30, 2010
Thursday, April 29, 2010
Friday April 30th, 2010
Today:
More conferences....
Trish
Courtney
Rosie
Ed
Also.... a fun fact....your sample chapters are due this Wednesday.... May 5th 2010 just something to think about....
You have had so much class time to write so I assume most of you are ready to format on Tuesday!
Have a great weekend!
More conferences....
Trish
Courtney
Rosie
Ed
Also.... a fun fact....your sample chapters are due this Wednesday.... May 5th 2010 just something to think about....
You have had so much class time to write so I assume most of you are ready to format on Tuesday!
Have a great weekend!
Wednesday, April 28, 2010
Sample Fiction:
Thursday April 29th, 2010:
Sample Fiction
Foxfire: Confessions of a Girl Gang By Joyce Carol Oates
"In a small town in upstate New York, during the 1950's a group of teenage girls realize that the odds in life are stacked against them. They come from low income families, and are treated poorly by the men, who seem to run the world.
However, one girl, "Legs" Sandovsky decides to fight back. Seeing the special treatment that male gangs receive from society and the law, Legs decides to form an all female gang, called Foxfire. In this gangs, girls find protection, companionship, and love, something they are denied in their own homes.
Though Legs leads the gang, she is not a writer, so she appoints gang member Mattie Wurtz to chronicle the adventures of Foxfire. This chronicle depicts the adventures of Foxfire as they attempt to change their lot in life. These attempts lead them to conflict with the law, their families and occasionally each other".
Sample Fiction
Foxfire: Confessions of a Girl Gang By Joyce Carol Oates
"In a small town in upstate New York, during the 1950's a group of teenage girls realize that the odds in life are stacked against them. They come from low income families, and are treated poorly by the men, who seem to run the world.
However, one girl, "Legs" Sandovsky decides to fight back. Seeing the special treatment that male gangs receive from society and the law, Legs decides to form an all female gang, called Foxfire. In this gangs, girls find protection, companionship, and love, something they are denied in their own homes.
Though Legs leads the gang, she is not a writer, so she appoints gang member Mattie Wurtz to chronicle the adventures of Foxfire. This chronicle depicts the adventures of Foxfire as they attempt to change their lot in life. These attempts lead them to conflict with the law, their families and occasionally each other".
Sample Fiction
Wednesday April 28th, 2010:
Sample Fiction:
Geek Love By Katherine Dunn
Sample Fiction:
Geek Love By Katherine Dunn
The novel is the story of a traveling carnival run by Aloysius "Al" Binewski and his wife "Crystal" Lil. When the business begins to fail, the couple devise an idea to breed their own freak show, using various drugs and radioactive material to alter the genes of their children. Who emerges are Arturo ("Arty"), a boy with flippers for hands and feet; Electra ("Elly") and Iphigenia ("Iphy"), the Siamese Twins; Olympia ("Oly"), the hunchback albino dwarf; and Fortunato ("Chick"), the normal-looking telekinetic baby of the family, as well as a number of stillborns kept preserved in jars in a special wing of the freak show.
Oly tells the story of her family in the form of a novel written for her daughter Miranda.
Plot summary
Two time periods are covered: the first deals with the Binewski children's constant vicious struggle against each other through life. They especially have to deal with Arty as he develops his own cult: Arturism. Arturism involves members having their limbs amputated so that they can be like Arty, the cult leader, in their search for the principle he calls PIP ("Peace, Isolation, Purity"). Each member moves up in stages, losing increasingly significant chunks of their limbs, starting with their toes and fingers. As Arty battles his siblings to maintain control over his followers, competition between their respective freak shows slowly begins to take over their lives.
The second story is set in the present and is centered on Oly's daughter, Miranda. In her early twenties, Miranda does not know Oly is her mother. She lives on a trust fund created by Oly before she gave up her daughter to be raised by nuns. This had been urged by her brother Arturo, who was also Miranda's father (via Chick's telekinesis.) Oly lives in the same rooming house as Miranda so she can "spy" on her. Miranda has a special defect of her own, a small tail, which she flaunts at a local fetish strip club. There she meets Mary Lick, who tries to convince her to have the tail cut off. Lick is a wealthy woman who pays poor but attractive women to get disfiguring operations so they may live up to their potential instead of becoming sex objects. Oly plans to stop Lick in order to protect her daughter.
Monday, April 26, 2010
Sample Fiction
Tuesday April 27th, 2010:
"The Afterlife of George Cartwright" by John Steffler
Diary Narratives: The first person
Conferences:
Rosie (missed yesterday)
Ed (still waiting)
Chelsea
Brittany
"The Afterlife of George Cartwright" by John Steffler
Diary Narratives: The first person
John Steffler
McClelland & Stewart
John Steffler, in The Afterlife of George Cartwright (McClelland & Stewart) goes after the big stuff in a richly imagined account of an eighteenth-century Englishman who sets up in business in Labrador. There is some terrific writing and real imagining in here, and with this book Labrador might be said to enter into literature—but for one, very nearly fatal, flaw: the central device in the story is the ghost of Cartwright himself, riding around modern England like Ichabod Crane's headless horseman, trying to remember the past. Corny, pompous and very embarrassing.Conferences:
Rosie (missed yesterday)
Ed (still waiting)
Chelsea
Brittany
Fiction Samples
Monday April 26th, 2010:
Looking at Complicity by Iain Banks...
Involvement; connection; liability - Complicity is a stunning exploration of the morality of greed, corruption and violence, venturing fearlessly into the darker recesses of human purpose.
Significant sections of the novel are written in second-person narrative.
Pg's 54 - 60
Conferences:
Rosie
Whitney
Ed
Looking at Complicity by Iain Banks...
Involvement; connection; liability - Complicity is a stunning exploration of the morality of greed, corruption and violence, venturing fearlessly into the darker recesses of human purpose.
Significant sections of the novel are written in second-person narrative.
Pg's 54 - 60
Conferences:
Rosie
Whitney
Ed
Thursday, April 22, 2010
Journals are Due!
Friday April 23, 2010:
1. Your Journals are DUE TODAY! No excuses.... seriously, none.
2. Conferences: Ed and Christilynn, you need to be prepared and have your set number of pages written as well as have any changes to your outlines to show me and two questions that are thought provoking and prove that you have spent some time analyzing throughout the writing process and are looking for sincere feedback.
3. You need to bring with you your ISU novels today.... PLEASE.
4. Workshop
That is all for today, have a great weekend!
1. Your Journals are DUE TODAY! No excuses.... seriously, none.
2. Conferences: Ed and Christilynn, you need to be prepared and have your set number of pages written as well as have any changes to your outlines to show me and two questions that are thought provoking and prove that you have spent some time analyzing throughout the writing process and are looking for sincere feedback.
3. You need to bring with you your ISU novels today.... PLEASE.
4. Workshop
That is all for today, have a great weekend!
Thursday April 22, 2010
Today is Earth Day!
However, as a class you voted to have a regular class this period so I showed up prepared to teach you. The majority of you opted to not show up at all even to have your attendance taken and kindly ask if you could re-locate.
Needless to say I am more than slightly disappointed with the disrespect. If you ask me to have a regular class on the day you have a choice in the very least it would be nice if you would come and tell me that you have chosen to not participate. I show you all significant amounts of respect on a regular basis and would appreciate your respect in return.
On that note, Arpita you had scheduled your conference date as today... we will have to make alternative arrangements as it is not acceptable to simply opt out of this activity. It is graded as a part of your mark for this unit. Let that be a message to the rest of you if you KNOW that you cannot make it to your conference date ahead of time you need to reschedule it in order to not be penalized academically.
Furthermore, your journals are due tomorrow FRIDAY APRIL 23, 2010 if your journal is not in by 4pm it will not be getting marked.
Journal Entry:
Please title your journal entry "A Piece of Fiction - name" (do not put name, put your name whatever it may be for example if it were me writing a journal I would title it "A Piece of Fiction - Miss. Storkey) some of you are wise guys...
Then proceed to journal about the following topic:
Is fiction easier or harder to write than reality or an autobiography and why? Reflect on your own process and challenges you have already faced or can foresee facing in the future while writing your fiction.
Length: You should aim to write 500 words or more please.
That is all....
Have a great Earth Day!
However, as a class you voted to have a regular class this period so I showed up prepared to teach you. The majority of you opted to not show up at all even to have your attendance taken and kindly ask if you could re-locate.
Needless to say I am more than slightly disappointed with the disrespect. If you ask me to have a regular class on the day you have a choice in the very least it would be nice if you would come and tell me that you have chosen to not participate. I show you all significant amounts of respect on a regular basis and would appreciate your respect in return.
On that note, Arpita you had scheduled your conference date as today... we will have to make alternative arrangements as it is not acceptable to simply opt out of this activity. It is graded as a part of your mark for this unit. Let that be a message to the rest of you if you KNOW that you cannot make it to your conference date ahead of time you need to reschedule it in order to not be penalized academically.
Furthermore, your journals are due tomorrow FRIDAY APRIL 23, 2010 if your journal is not in by 4pm it will not be getting marked.
Journal Entry:
Please title your journal entry "A Piece of Fiction - name" (do not put name, put your name whatever it may be for example if it were me writing a journal I would title it "A Piece of Fiction - Miss. Storkey) some of you are wise guys...
Then proceed to journal about the following topic:
Is fiction easier or harder to write than reality or an autobiography and why? Reflect on your own process and challenges you have already faced or can foresee facing in the future while writing your fiction.
Length: You should aim to write 500 words or more please.
That is all....
Have a great Earth Day!
Wednesday, April 21, 2010
For Your Enjoyment...
I thought you might appreciate the following imitation poem. It was composed by Matt Brockwell after a little slip during his poetry presentation. If you don't know Matt, his fro is quite impressive.
A Poison Tree
by William Blake
I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.
And I watered it in fears,
Night and morning with my tears;
And I sunned it with smiles,
And with soft deceitful wiles.
And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine.
And he knew that it was mine,
And into my garden stole
When the night had veiled the pole;
In the morning glad I see
My foe outstretched beneath the tree.
The Poison Fro
by Matt Brockwell
You’re angry at a split end
You cut it off, and it will mend
I am angry at my fro
I cut it not, and watch it grow
And I get my share of jeers
As if it had grown for years
I watched it grow for miles
And was left with few hairstyles.
So it grew with all its might
And it became quite a sight
It began to look like twine
I needed a new design
So I came up with a goal
And from there I took control;
The next day, my class did see
A buzzed head belonging to me
By: Matt Brockwell
A Poison Tree
by William Blake
I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.
And I watered it in fears,
Night and morning with my tears;
And I sunned it with smiles,
And with soft deceitful wiles.
And it grew both day and night,
Till it bore an apple bright.
And my foe beheld it shine.
And he knew that it was mine,
And into my garden stole
When the night had veiled the pole;
In the morning glad I see
My foe outstretched beneath the tree.
The Poison Fro
by Matt Brockwell
You’re angry at a split end
You cut it off, and it will mend
I am angry at my fro
I cut it not, and watch it grow
And I get my share of jeers
As if it had grown for years
I watched it grow for miles
And was left with few hairstyles.
So it grew with all its might
And it became quite a sight
It began to look like twine
I needed a new design
So I came up with a goal
And from there I took control;
The next day, my class did see
A buzzed head belonging to me
By: Matt Brockwell
Monday, April 19, 2010
Simple vs. Compound Sentences & A Journal Topic:
Tuesday April 20th, 2010:
Simple vs. Compound Sentences:
Try using a variety of basic sentence structures. We can categorize sentences into four main types, depending on the number and type of clauses they contain:
Simple (one independent clause):
We drove from Connecticut to Tennessee in one day.
Compound (more than one independent clause):
We were exhausted, but we arrived in time for my father's birthday party.
Complex (one independent clause and at least one dependent clause):
Although he is now 79 years old, he still claims to be 65.
Compound-complex (more than one independent clause and at least one dependent clause):
After it was all over, my dad claimed he knew we were planning something, but we think he was really surprised.
An independent clause (or main clause) is a clause that can stand by itself, also known as a simple sentence. An independent clause contains a subject and a predicate; it makes sense by itself.
A dependent clause (or subordinate clause) cannot stand alone as a sentence. A dependent clause is usually attached to an independent clause. Although a dependent clause contains a subject and a predicate, it sounds incomplete when standing alone.
Food for Thought:
When writing try to vary your sentence structure, perhaps by character if you have a dim-witted character perhaps they speak in simple sentences. However, you may have a character that is gaining knowledge and becoming self-enlightened in this instance we might see their speech grow over the course of the novel. Finally, perhaps you have a wise man or woman who is older and that too can be reflected in the complexity of their tone and your effective placement of compound and complex sentences.
-------------------------------------------------------------------------------------------------
Journal Entry:
Please title your journal entry "A Piece of Fiction - name" (do not put name, put your name whatever it may be for example if it were me writing a journal I would title it "A Piece of Fiction - Miss. Storkey) some of you are wise guys...
Then proceed to journal about the following topic:
Is fiction easier or harder to write than reality or an autobiography and why? Reflect on your own process and challenges you have already faced or can foresee facing in the future while writing your fiction.
Length: You should aim to write 500 words or more please.
Your journal will be due this Friday April 23, no excuses I don't feel like I am asking all that much of you!
Some of you have multiple blogs etc. because I am new to this and you have all watched my struggles and plights when it comes to this thing we call "blogging" please be so kind as to direct me in class at some point as to where I can find said journal that you will be writing for me. I would hate to mistakenly give someone a zero due to my lack of technical know how.
Also, some of you have conferences at the end of this week if that someone is you then you may want to ensure you are writing enough to meet your page goals; if you need to be reminded about what goal you set for yourself please take it upon yourself to ask me.
That is all for today!
Simple vs. Compound Sentences:
Try using a variety of basic sentence structures. We can categorize sentences into four main types, depending on the number and type of clauses they contain:
Simple (one independent clause):
We drove from Connecticut to Tennessee in one day.
Compound (more than one independent clause):
We were exhausted, but we arrived in time for my father's birthday party.
Complex (one independent clause and at least one dependent clause):
Although he is now 79 years old, he still claims to be 65.
Compound-complex (more than one independent clause and at least one dependent clause):
After it was all over, my dad claimed he knew we were planning something, but we think he was really surprised.
An independent clause (or main clause) is a clause that can stand by itself, also known as a simple sentence. An independent clause contains a subject and a predicate; it makes sense by itself.
A dependent clause (or subordinate clause) cannot stand alone as a sentence. A dependent clause is usually attached to an independent clause. Although a dependent clause contains a subject and a predicate, it sounds incomplete when standing alone.
Food for Thought:
When writing try to vary your sentence structure, perhaps by character if you have a dim-witted character perhaps they speak in simple sentences. However, you may have a character that is gaining knowledge and becoming self-enlightened in this instance we might see their speech grow over the course of the novel. Finally, perhaps you have a wise man or woman who is older and that too can be reflected in the complexity of their tone and your effective placement of compound and complex sentences.
-------------------------------------------------------------------------------------------------
Journal Entry:
Please title your journal entry "A Piece of Fiction - name" (do not put name, put your name whatever it may be for example if it were me writing a journal I would title it "A Piece of Fiction - Miss. Storkey) some of you are wise guys...
Then proceed to journal about the following topic:
Is fiction easier or harder to write than reality or an autobiography and why? Reflect on your own process and challenges you have already faced or can foresee facing in the future while writing your fiction.
Length: You should aim to write 500 words or more please.
Your journal will be due this Friday April 23, no excuses I don't feel like I am asking all that much of you!
Some of you have multiple blogs etc. because I am new to this and you have all watched my struggles and plights when it comes to this thing we call "blogging" please be so kind as to direct me in class at some point as to where I can find said journal that you will be writing for me. I would hate to mistakenly give someone a zero due to my lack of technical know how.
Also, some of you have conferences at the end of this week if that someone is you then you may want to ensure you are writing enough to meet your page goals; if you need to be reminded about what goal you set for yourself please take it upon yourself to ask me.
That is all for today!
Sunday, April 18, 2010
Hand Back Outlines & Conferences
Monday April 19th, 2010
Today:
1. I will hand back your marked outlines and meet with you individually about any questions or concerns I may have (this process could take two days...).
2. While I am meeting with other students you will be asked to proceed with writing your chapter, I will do my best to complete the conferences and hand back the outlines in a timely fashion so you can have my feedback.
3. You need to set a time line for yourselves and get writing. You must reach the goals you set out to achieve by your conference dates and the chapter itself is due MAY 5th. There is not a whole lot of time to be wasted. The more time you waste that is provided in class to work on this the more time I will start using towards teaching you new things and you will have to complete the writing process at home. Also, keep in mind, May 5th is the due date for the good copy so if we are going to use class time for peer editing you need to have written the chapter prior to that date.
4. I hope you all had a lovely weekend.
That is all!
Today:
1. I will hand back your marked outlines and meet with you individually about any questions or concerns I may have (this process could take two days...).
2. While I am meeting with other students you will be asked to proceed with writing your chapter, I will do my best to complete the conferences and hand back the outlines in a timely fashion so you can have my feedback.
3. You need to set a time line for yourselves and get writing. You must reach the goals you set out to achieve by your conference dates and the chapter itself is due MAY 5th. There is not a whole lot of time to be wasted. The more time you waste that is provided in class to work on this the more time I will start using towards teaching you new things and you will have to complete the writing process at home. Also, keep in mind, May 5th is the due date for the good copy so if we are going to use class time for peer editing you need to have written the chapter prior to that date.
4. I hope you all had a lovely weekend.
That is all!
Friday, April 16, 2010
Standard Manuscript Format
Friday's Class:
Looking at manuscripts...see the hard copy handout. We will go through a variety of expectations that I expect to see in the final drafts of your sample chapters. There are examples and I feel I would do this subject a greater justice if we went through them on paper. However, I know how you feel about paper and we can leave them in the classroom to refer to during work shop/writing time.
Peer Editing/Conferencing Activity:
Reflection on the Peer Activity Process: You will find the blog link on the calendar or directly below this post.
If I have time and the courage I will bring in some of my own work to read to you, perhaps you will find me inspiring.
Looking at manuscripts...see the hard copy handout. We will go through a variety of expectations that I expect to see in the final drafts of your sample chapters. There are examples and I feel I would do this subject a greater justice if we went through them on paper. However, I know how you feel about paper and we can leave them in the classroom to refer to during work shop/writing time.
Peer Editing/Conferencing Activity:
Reflection on the Peer Activity Process: You will find the blog link on the calendar or directly below this post.
If I have time and the courage I will bring in some of my own work to read to you, perhaps you will find me inspiring.
Metacognition: Peer Editing Sessions:
Friday April 1th 2010:
Please answer the following:
Peer Editing/Conferencing
1. Was this process helpful?
2. Did you like how you went from pairs to groups of 3 or 4?
3. Did you find that more heads are better than one? (By that I mean did you gain any valuable insight from completing this process? Was the feedback they gave you helpful?)
4. Would you like to have another peer-conferencing session?
5. How would you feel about "free writing", meaning that you would allow someone else to write within the body of your work, adding their sporadic thoughts and ideas? You are able to delete what they write if none of it of use to you, or you can adapt it and make use of various sections of the work?
6. On a scale of 1 - 10 (10 being most willing) how willing would you be to try this out?
- Thank you for your input I will consider your answers in my future planning processes.
Please answer the following:
Peer Editing/Conferencing
1. Was this process helpful?
2. Did you like how you went from pairs to groups of 3 or 4?
3. Did you find that more heads are better than one? (By that I mean did you gain any valuable insight from completing this process? Was the feedback they gave you helpful?)
4. Would you like to have another peer-conferencing session?
5. How would you feel about "free writing", meaning that you would allow someone else to write within the body of your work, adding their sporadic thoughts and ideas? You are able to delete what they write if none of it of use to you, or you can adapt it and make use of various sections of the work?
6. On a scale of 1 - 10 (10 being most willing) how willing would you be to try this out?
- Thank you for your input I will consider your answers in my future planning processes.
Thursday, April 15, 2010
Outline Requirements
Please include all of the following criteria in your Chapter Outline to be evaluated:
The Task: is your outline a full 3-4 pages?
• Does it indicate that you have put both time and effort into the planning process prior to beginning to write your novel?
/2
Is each section of your outline clearly labelled?
• Headings should include: Overview (this includes the genre and a brief plot synopsis), Character Descriptions (both inner and outer character traits, Setting (how does the setting connect to the plot and themes), Point of View (present, past or future tense; first second, or third person – please indicate why you made the choices you did), Chapter Outlines, Focus Chapter (with the title), Bonus: Literary Device/Element.
/7
Overview: is clear and easy to understand? (approximately one paragraph long) /2
Character Descriptions: do you have 3 – 4 (Maximum) with a paragraph for each person describing their traits?
• For minor character just indicate their name and their relation to the main character or role within the novel. Ex: Judy – Tiffany’s (main character’s) absent mother.
/2
Setting: time and place as well as how the setting connects to plot and themes /2
Point of View: clear and well described, good reason and connections made to the choices the author has selected. /2
Chapter Outlines: The plot shows chronological development, the chapters are well thought out and placed and show hot the story will develop. 1 -4 Sentences depending on the length of the chapter.
/5
Focus Chapter: indicate which chapter (s) you will be developing fully. Briefly summarize this chapter and describe in a secondary paragraph why you chose to write this chapter. /5
Title: create and include in the outline a working title for your fiction. This is subject to change as that is common with the writing process but I would like you to come up with an idea and present it to me at this point.
/1
Bonus: What literary element (s) do you think you will include in your writing.
• List the element and describe how it will be used to contribute to your story. /2
Total: /30
Comments:
The Task: is your outline a full 3-4 pages?
• Does it indicate that you have put both time and effort into the planning process prior to beginning to write your novel?
/2
Is each section of your outline clearly labelled?
• Headings should include: Overview (this includes the genre and a brief plot synopsis), Character Descriptions (both inner and outer character traits, Setting (how does the setting connect to the plot and themes), Point of View (present, past or future tense; first second, or third person – please indicate why you made the choices you did), Chapter Outlines, Focus Chapter (with the title), Bonus: Literary Device/Element.
/7
Overview: is clear and easy to understand? (approximately one paragraph long) /2
Character Descriptions: do you have 3 – 4 (Maximum) with a paragraph for each person describing their traits?
• For minor character just indicate their name and their relation to the main character or role within the novel. Ex: Judy – Tiffany’s (main character’s) absent mother.
/2
Setting: time and place as well as how the setting connects to plot and themes /2
Point of View: clear and well described, good reason and connections made to the choices the author has selected. /2
Chapter Outlines: The plot shows chronological development, the chapters are well thought out and placed and show hot the story will develop. 1 -4 Sentences depending on the length of the chapter.
/5
Focus Chapter: indicate which chapter (s) you will be developing fully. Briefly summarize this chapter and describe in a secondary paragraph why you chose to write this chapter. /5
Title: create and include in the outline a working title for your fiction. This is subject to change as that is common with the writing process but I would like you to come up with an idea and present it to me at this point.
/1
Bonus: What literary element (s) do you think you will include in your writing.
• List the element and describe how it will be used to contribute to your story. /2
Total: /30
Comments:
Wednesday, April 14, 2010
Word Processing:
Word Processing :
Using a computer to create, edit, and print documents. Of all computer applications, word processing is the most common. To perform word processing, you need a computer, a special program called a word processor, and a printer. A word processor enables you to create a document, store it electronically on a disk, display it on a screen, modify it by entering commands and characters from the keyboard, and print it on a printer.
The great advantage of word processing over using a typewriter is that you can make changes without retyping the entire document. If you make a typing mistake, you simply back up the cursor and correct your mistake. If you want to delete a paragraph, you simply remove it, without leaving a trace. It is equally easy to insert a word, sentence, or paragraph in the middle of a document. Word processors also make it easy to move sections of text from one place to another within a document, or between documents. When you have made all the changes you want, you can send the file to a printer to get a hardcopy.
Word processors vary considerably, but all word processors support the following basic features:
• insert text: Allows you to insert text anywhere in the document.
• delete text: Allows you to erase characters, words, lines, or pages as easily as you can cross them out on paper.
• cut and paste: Allows you to remove (cut) a section of text from one place in a document and insert (paste) it somewhere else.
• copy: Allows you to duplicate a section of text.
• page size and margins: Allows you to define various page sizes and margins, and the word processor will automatically readjust the text so that it fits.
• search and replace: Allows you to direct the word processor to search for a particular word or phrase. You can also direct the word processor to replace one group of characters with another everywhere that the first group appears.
• word wrap: The word processor automatically moves to the next line when you have filled one line with text, and it will readjust text if you change the margins.
• print: Allows you to send a document to a printer to get hardcopy.
Word processors that support only these features (and maybe a few others) are called text editors.
Most word processors, however, support additional features that enable you to manipulate and format documents in more sophisticated ways. These more advanced word processors are sometimes called full-featured word processors. Full-featured word processors usually support the following features:
• file management: Many word processors contain file management capabilities that allow you to create, delete, move, and search for files.
• font specifications: Allows you to change fonts within a document. For example, you can specify bold, italics, and underlining. Most word processors also let you change the font size and even the typeface.
• footnotes and cross-references: Automates
the numbering and placement of footnotes and enables you to easily cross-reference other sections of the document.
• graphics graphics: Allows you to embed illustrations and graphs into a document. Some word processors let you create the illustrations within the word processor; others let you insert an illustration produced by a different program.
• headers , footers , and page numbering: Allows you to specify customized headers and footers that the word processor will put at the top and bottom of every page. The word processor automatically keeps track of page numbers so that the correct number appears on each page.
• layout: Allows you to specify different margins within a single document and to specify various methods for indenting paragraphs.
• macros: A macro is a character or word that represents a series of keystrokes. The keystrokes can represent text or commands. The ability to define macros allows you to save yourself a lot of time by replacing common combinations of keystrokes.
• merges: Allows you to merge text from one file into another file. This is particularly useful for generating many files that have the same format but different data. Generating mailing labels is the classic example of using merges.
• spell checker: A utility that allows you to check the spelling of words. It will highlight any words that it does not recognize.
• tables of contents and indexes: Allows you to automatically create a table of contents and index based on special codes that you insert in the document.
• thesaurus: A built-in thesaurus that allows you to search for synonyms without leaving the word processor.
• windows: Allows you to edit two or more documents at the same time. Each document appears in a separate window. This is particularly valuable when working on a large project that consists of several different files.
• WYSIWYG (what you see is what you get): With WYSIWYG, a document appears on the display screen exactly as it will look when printed.
There are numerous word processing software's:
1. Microsoft Word (I am most competent with this software, an version after 1997 up until 2010).
2. Open Office.
3. Word Perfect (This program is finicky when it comes to manuscripts).
4. Google Documents (slightly less flexible).
5. Notepad (does not provide many formatting options or word wrap).
Any other questions about formatting please comment on this blog and I will try to answer your questions quickly and efficiently.
Using a computer to create, edit, and print documents. Of all computer applications, word processing is the most common. To perform word processing, you need a computer, a special program called a word processor, and a printer. A word processor enables you to create a document, store it electronically on a disk, display it on a screen, modify it by entering commands and characters from the keyboard, and print it on a printer.
The great advantage of word processing over using a typewriter is that you can make changes without retyping the entire document. If you make a typing mistake, you simply back up the cursor and correct your mistake. If you want to delete a paragraph, you simply remove it, without leaving a trace. It is equally easy to insert a word, sentence, or paragraph in the middle of a document. Word processors also make it easy to move sections of text from one place to another within a document, or between documents. When you have made all the changes you want, you can send the file to a printer to get a hardcopy.
Word processors vary considerably, but all word processors support the following basic features:
• insert text: Allows you to insert text anywhere in the document.
• delete text: Allows you to erase characters, words, lines, or pages as easily as you can cross them out on paper.
• cut and paste: Allows you to remove (cut) a section of text from one place in a document and insert (paste) it somewhere else.
• copy: Allows you to duplicate a section of text.
• page size and margins: Allows you to define various page sizes and margins, and the word processor will automatically readjust the text so that it fits.
• search and replace: Allows you to direct the word processor to search for a particular word or phrase. You can also direct the word processor to replace one group of characters with another everywhere that the first group appears.
• word wrap: The word processor automatically moves to the next line when you have filled one line with text, and it will readjust text if you change the margins.
• print: Allows you to send a document to a printer to get hardcopy.
Word processors that support only these features (and maybe a few others) are called text editors.
Most word processors, however, support additional features that enable you to manipulate and format documents in more sophisticated ways. These more advanced word processors are sometimes called full-featured word processors. Full-featured word processors usually support the following features:
• file management: Many word processors contain file management capabilities that allow you to create, delete, move, and search for files.
• font specifications: Allows you to change fonts within a document. For example, you can specify bold, italics, and underlining. Most word processors also let you change the font size and even the typeface.
• footnotes and cross-references: Automates
the numbering and placement of footnotes and enables you to easily cross-reference other sections of the document.
• graphics graphics: Allows you to embed illustrations and graphs into a document. Some word processors let you create the illustrations within the word processor; others let you insert an illustration produced by a different program.
• headers , footers , and page numbering: Allows you to specify customized headers and footers that the word processor will put at the top and bottom of every page. The word processor automatically keeps track of page numbers so that the correct number appears on each page.
• layout: Allows you to specify different margins within a single document and to specify various methods for indenting paragraphs.
• macros: A macro is a character or word that represents a series of keystrokes. The keystrokes can represent text or commands. The ability to define macros allows you to save yourself a lot of time by replacing common combinations of keystrokes.
• merges: Allows you to merge text from one file into another file. This is particularly useful for generating many files that have the same format but different data. Generating mailing labels is the classic example of using merges.
• spell checker: A utility that allows you to check the spelling of words. It will highlight any words that it does not recognize.
• tables of contents and indexes: Allows you to automatically create a table of contents and index based on special codes that you insert in the document.
• thesaurus: A built-in thesaurus that allows you to search for synonyms without leaving the word processor.
• windows: Allows you to edit two or more documents at the same time. Each document appears in a separate window. This is particularly valuable when working on a large project that consists of several different files.
• WYSIWYG (what you see is what you get): With WYSIWYG, a document appears on the display screen exactly as it will look when printed.
There are numerous word processing software's:
1. Microsoft Word (I am most competent with this software, an version after 1997 up until 2010).
2. Open Office.
3. Word Perfect (This program is finicky when it comes to manuscripts).
4. Google Documents (slightly less flexible).
5. Notepad (does not provide many formatting options or word wrap).
Any other questions about formatting please comment on this blog and I will try to answer your questions quickly and efficiently.
Tuesday, April 13, 2010
Conferences:
This post is to remind you that: (your names will appear in green on the EWC calendar to tell you which day you chose for conferencing)
a.) You have to conference with me at some point, most of you have signed up if you have not you need to take it upon yourself to see me to see what times I have available.
b.) Remind you what you need to bring!
What you need to bring to your conference:
1. An updated copy of your outline if you make changes after Friday.
2. Your progress. You have to set a goal and reach it, on the date you sign up to conference you must have reached your goal and it must be realistic and serious. Your manuscript is expected to be 20 pages double spaced so depending on the day you choose for conference you need to consider how many pages you will have completed.
3. Two questions you have concerning your sample chapter, the process or any idea’s you might like to run by me.
- Good luck and happy writing!
Do not be afraid to come and talk to me during class time that is what I am here for and I am likely smarter than I look.
-Miss. Storkey
a.) You have to conference with me at some point, most of you have signed up if you have not you need to take it upon yourself to see me to see what times I have available.
b.) Remind you what you need to bring!
What you need to bring to your conference:
1. An updated copy of your outline if you make changes after Friday.
2. Your progress. You have to set a goal and reach it, on the date you sign up to conference you must have reached your goal and it must be realistic and serious. Your manuscript is expected to be 20 pages double spaced so depending on the day you choose for conference you need to consider how many pages you will have completed.
3. Two questions you have concerning your sample chapter, the process or any idea’s you might like to run by me.
- Good luck and happy writing!
Do not be afraid to come and talk to me during class time that is what I am here for and I am likely smarter than I look.
-Miss. Storkey
Monday, April 12, 2010
Narrative Point of View:
The narrative mode (also known as the mode of narration) is the set of methods the author of a literary, theatrical, cinematic, or musical story uses to convey the plot to the audience.
Narrative point of view:
Narrative point of view (also point-of-view or viewpoint) describes from which grammatical person's perspective of the story is perceived.
First-person view:
The first-person narrative makes it necessary that the narrator is also a character within his or her own story, so that the narrator reveals the plot by referring to this viewpoint character as "I" (or, when plural, "we"). Oftentimes, the first-person narrative is used as a way to directly convey the deeply internal, otherwise unspoken thoughts of the narrator. Frequently, the narrator's story revolves around him-/herself as the protagonist and allows this protagonist/narrator character's inner thoughts to be conveyed openly to the audience, even if not to any of the other characters. It also allows that character to be further developed through his/her own style in telling the story.
First-person narrations may be told like third-person ones, with a person experiencing the story without being aware that they are actually conveying their experiences to an audience; on the other hand, the narrator may be conscious of telling the story to a given audience, perhaps at a given place and time, for a given reason. In extreme cases, the first-person narration may be told as a story within a story, with the narrator appearing as a character in the story. First-person narration is used somewhat frequently. Although the first-person narrator is usually also the protagonist of his/her own story, this is not always true (for example in The Great Gatsby, by F. Scott Fitzgerald, the first-person narrator is Nick Carraway and not the title character Jay Gatsby himself).
The first-person narrator also may or may not be the focal character.
The narrator can be the protagonist (e.g., Gulliver in Gulliver's Travels), someone very close to him who is privy to his thoughts and actions (Dr. Watson in Sherlock Holmes), or an ancillary character who has little to do with the action of the story (the character Nick Carraway in The Great Gatsby).
A narrator can even be a character relating the story second-hand. The first person narrator is the type most obviously distinct from the author. It is a character in the work, who must follow all of the rules of being a character, even during its duties as narrator. For it to know anything, it must experience it with its senses, or be told about it. It can interject its own thoughts and opinions, but not those of any other character, unless clearly told about those thoughts.
Second-person view
Probably the rarest mode in literature (though quite common in song lyrics) is the second-person narrative mode, in which the narrator refers to one of the characters as "you", therefore making the audience member feel as if he or she is a character within the story. The second-person narrative mode is often paired with the first-person narrative mode in which the narrator makes emotional comparisons between the thoughts, actions, and feelings of "you" versus "I". Often the narrator is therefore also a character in his or her story, in which case it would technically still be employing the first-person narrative mode.
"You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say the terrain is entirely unfamiliar, although the details are fuzzy. You are at a nightclub talking to a girl with a shaved head. The club is either Heartbreak or the Lizard Lounge. All might become clear if you could just slip into the bathroom and do a little more Bolivian Marching Powder. Then again, it might not. A small voice inside you insists that this epidemic lack of clarity is a result of too much of that already."
Second-person narration can be a difficult style to manage. But when it is done well, this type of narration allows (or forces) the reader to imagine him or herself within the action of the novel. One possible (and frequently exploited) effect of the second-person is a strong accusatory tone, which can be achieved if the narrator condemns or expresses strong feelings about the actions of the focal character (“you”). This technique can also be used effectively to place the reader in unfamiliar, disturbing, or exciting situations. For example, in his novel Complicity, Iain Banks uses the second-person in the chapters dealing with the actions of a murderer.
Third-person view
Third-person narration provides the greatest flexibility to the author and thus is the most commonly used narrative mode in literature. In the third-person narrative mode, each and every character is referred to by the narrator as "he", "she", "it", or "they", but never as "I" or "we" (first-person), or "you" (second-person). In third-person narrative, it is necessary that the narrator is merely an unspecified entity or uninvolved person that conveys the story, but not a character of any kind within the story being told. Third-person singular (he/she) is overwhelmingly the most common type of third-person narrative, although there have been successful uses of the third-person plural (they), as in Maxine Swann's short story "Flower Children." Even more common, however, is to see singular and plural used together in one story, at different times, depending upon the number of people being referred to at a given moment in the plot. Sometimes in third-person narratives, a character would refer to himself in the third-person e.g., "(Character name) would like to come with you".
The third-person modes are usually categorized along two axes. The first is the subjectivity/objectivity axis, with "subjective" narration describing one or more character's feelings and thoughts, while "objective" narration does not describe the feelings or thoughts of any characters. The second axis is between "omniscient" and "limited," a distinction that refers to the knowledge available to the narrator. An omniscient narrator has omniscient knowledge of time, people, places and events; a limited narrator, in contrast, may know absolutely everything about a single character and every piece of knowledge in that character's mind, but it is "limited" to that character—that is, it cannot describe things unknown to the focal character.
Multiple-person view
Not too rare is the multiple person narrative mode. Sometimes, an author will use multiple narrators, usually all of them storytelling in the first person. In stories in which it is important to get different characters' views on a single matter, such as in mystery novels, multiple narrators may be developed. The use of multiple narrators also helps describe separate events that occur at the same time in different locations. William Faulkner's novels As I Lay Dying and The Sound and the Fury are told from multiple points of view, in the first and third person, respectively, although the latter uses a less conventional chronology.
Alternating person view
While the general rule is for novels to adopt a single approach to point of view throughout, there are exceptions. Many stories, especially in literature, alternate between the first and third person. In this case, an author will move back and forth between a more omniscient third-person narrator to a more personal first-person narrator. Often, a narrator using the first person will try to be more objective by also employing the third person for important action scenes, especially those in which he/she is not directly involved or in scenes where he/she is not present to have viewed the events in first person.
Narrative voice
The narrative voice describes how the story is conveyed (for example, by "viewing" a character's thought processes, by reading a letter written for someone, by a retelling of a character's experiences, etc.).
Stream-of-consciousness voice
A stream of consciousness gives the (almost always first-person) narrator's perspective by attempting to replicate the thought processes (as opposed to simply the actions and spoken words) of the narrative character. Often, interior monologues and inner desires or motivations, as well as pieces of incomplete thoughts, are expressed to the audience (but not necessarily to other characters). Examples include the multiple narrators' feelings in William Faulkner's The Sound and the Fury and As I Lay Dying, the character Offred's often fragmented thoughts in Margaret Atwood's The Handmaid's Tale, and the development of the narrator's nightmarish experience in Queen's hit song, Bohemian Rhapsody.
Narrative tense
The narrative tense or narrative time determines the grammatical tense of the story; whether in the past, present, or future.
Past tense
The most common in literature and story-telling; the events of the plot occurred sometime before the current moment or the time at which the narrative was constructed or expressed to an audience. (e.g. "They were going home. They had found their way and were ready to celebrate.")
Present tense
The events of the plot occur or are occurring now—at the current moment—in real-time. (e.g. "They go home. They find their way and are ready to celebrate.")
Future tense
Extremely rare in literature; the event of the plot will occur soon or eventually; often, these upcoming events are described in a way that makes it seem like the narrators uncannily know (or believe they know) the future. Some future-tense stories have a prophetic feel. (e.g. "They will be going home. They will have found their way and will be ready to celebrate.")
Examples:
“The Yellow Wallpaper” by Charlotte Perkins Gilman
1st person
“Animal Farm” by George Orwell
3rd person
Narrative point of view:
Narrative point of view (also point-of-view or viewpoint) describes from which grammatical person's perspective of the story is perceived.
First-person view:
The first-person narrative makes it necessary that the narrator is also a character within his or her own story, so that the narrator reveals the plot by referring to this viewpoint character as "I" (or, when plural, "we"). Oftentimes, the first-person narrative is used as a way to directly convey the deeply internal, otherwise unspoken thoughts of the narrator. Frequently, the narrator's story revolves around him-/herself as the protagonist and allows this protagonist/narrator character's inner thoughts to be conveyed openly to the audience, even if not to any of the other characters. It also allows that character to be further developed through his/her own style in telling the story.
First-person narrations may be told like third-person ones, with a person experiencing the story without being aware that they are actually conveying their experiences to an audience; on the other hand, the narrator may be conscious of telling the story to a given audience, perhaps at a given place and time, for a given reason. In extreme cases, the first-person narration may be told as a story within a story, with the narrator appearing as a character in the story. First-person narration is used somewhat frequently. Although the first-person narrator is usually also the protagonist of his/her own story, this is not always true (for example in The Great Gatsby, by F. Scott Fitzgerald, the first-person narrator is Nick Carraway and not the title character Jay Gatsby himself).
The first-person narrator also may or may not be the focal character.
The narrator can be the protagonist (e.g., Gulliver in Gulliver's Travels), someone very close to him who is privy to his thoughts and actions (Dr. Watson in Sherlock Holmes), or an ancillary character who has little to do with the action of the story (the character Nick Carraway in The Great Gatsby).
A narrator can even be a character relating the story second-hand. The first person narrator is the type most obviously distinct from the author. It is a character in the work, who must follow all of the rules of being a character, even during its duties as narrator. For it to know anything, it must experience it with its senses, or be told about it. It can interject its own thoughts and opinions, but not those of any other character, unless clearly told about those thoughts.
Second-person view
Probably the rarest mode in literature (though quite common in song lyrics) is the second-person narrative mode, in which the narrator refers to one of the characters as "you", therefore making the audience member feel as if he or she is a character within the story. The second-person narrative mode is often paired with the first-person narrative mode in which the narrator makes emotional comparisons between the thoughts, actions, and feelings of "you" versus "I". Often the narrator is therefore also a character in his or her story, in which case it would technically still be employing the first-person narrative mode.
"You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say the terrain is entirely unfamiliar, although the details are fuzzy. You are at a nightclub talking to a girl with a shaved head. The club is either Heartbreak or the Lizard Lounge. All might become clear if you could just slip into the bathroom and do a little more Bolivian Marching Powder. Then again, it might not. A small voice inside you insists that this epidemic lack of clarity is a result of too much of that already."
Second-person narration can be a difficult style to manage. But when it is done well, this type of narration allows (or forces) the reader to imagine him or herself within the action of the novel. One possible (and frequently exploited) effect of the second-person is a strong accusatory tone, which can be achieved if the narrator condemns or expresses strong feelings about the actions of the focal character (“you”). This technique can also be used effectively to place the reader in unfamiliar, disturbing, or exciting situations. For example, in his novel Complicity, Iain Banks uses the second-person in the chapters dealing with the actions of a murderer.
Third-person view
Third-person narration provides the greatest flexibility to the author and thus is the most commonly used narrative mode in literature. In the third-person narrative mode, each and every character is referred to by the narrator as "he", "she", "it", or "they", but never as "I" or "we" (first-person), or "you" (second-person). In third-person narrative, it is necessary that the narrator is merely an unspecified entity or uninvolved person that conveys the story, but not a character of any kind within the story being told. Third-person singular (he/she) is overwhelmingly the most common type of third-person narrative, although there have been successful uses of the third-person plural (they), as in Maxine Swann's short story "Flower Children." Even more common, however, is to see singular and plural used together in one story, at different times, depending upon the number of people being referred to at a given moment in the plot. Sometimes in third-person narratives, a character would refer to himself in the third-person e.g., "(Character name) would like to come with you".
The third-person modes are usually categorized along two axes. The first is the subjectivity/objectivity axis, with "subjective" narration describing one or more character's feelings and thoughts, while "objective" narration does not describe the feelings or thoughts of any characters. The second axis is between "omniscient" and "limited," a distinction that refers to the knowledge available to the narrator. An omniscient narrator has omniscient knowledge of time, people, places and events; a limited narrator, in contrast, may know absolutely everything about a single character and every piece of knowledge in that character's mind, but it is "limited" to that character—that is, it cannot describe things unknown to the focal character.
Multiple-person view
Not too rare is the multiple person narrative mode. Sometimes, an author will use multiple narrators, usually all of them storytelling in the first person. In stories in which it is important to get different characters' views on a single matter, such as in mystery novels, multiple narrators may be developed. The use of multiple narrators also helps describe separate events that occur at the same time in different locations. William Faulkner's novels As I Lay Dying and The Sound and the Fury are told from multiple points of view, in the first and third person, respectively, although the latter uses a less conventional chronology.
Alternating person view
While the general rule is for novels to adopt a single approach to point of view throughout, there are exceptions. Many stories, especially in literature, alternate between the first and third person. In this case, an author will move back and forth between a more omniscient third-person narrator to a more personal first-person narrator. Often, a narrator using the first person will try to be more objective by also employing the third person for important action scenes, especially those in which he/she is not directly involved or in scenes where he/she is not present to have viewed the events in first person.
Narrative voice
The narrative voice describes how the story is conveyed (for example, by "viewing" a character's thought processes, by reading a letter written for someone, by a retelling of a character's experiences, etc.).
Stream-of-consciousness voice
A stream of consciousness gives the (almost always first-person) narrator's perspective by attempting to replicate the thought processes (as opposed to simply the actions and spoken words) of the narrative character. Often, interior monologues and inner desires or motivations, as well as pieces of incomplete thoughts, are expressed to the audience (but not necessarily to other characters). Examples include the multiple narrators' feelings in William Faulkner's The Sound and the Fury and As I Lay Dying, the character Offred's often fragmented thoughts in Margaret Atwood's The Handmaid's Tale, and the development of the narrator's nightmarish experience in Queen's hit song, Bohemian Rhapsody.
Narrative tense
The narrative tense or narrative time determines the grammatical tense of the story; whether in the past, present, or future.
Past tense
The most common in literature and story-telling; the events of the plot occurred sometime before the current moment or the time at which the narrative was constructed or expressed to an audience. (e.g. "They were going home. They had found their way and were ready to celebrate.")
Present tense
The events of the plot occur or are occurring now—at the current moment—in real-time. (e.g. "They go home. They find their way and are ready to celebrate.")
Future tense
Extremely rare in literature; the event of the plot will occur soon or eventually; often, these upcoming events are described in a way that makes it seem like the narrators uncannily know (or believe they know) the future. Some future-tense stories have a prophetic feel. (e.g. "They will be going home. They will have found their way and will be ready to celebrate.")
Examples:
“The Yellow Wallpaper” by Charlotte Perkins Gilman
1st person
“Animal Farm” by George Orwell
3rd person
A New Start: Fiction
Introducing Fiction:
Fiction writing: is any kind of writing that is not factual. Fictional writing most often takes the form of a story meant to convey an author's point of view or simply to entertain. The result of this may be a short story, novel, novella, screenplay, or drama, which are all types (though not the only types) of fictional writing styles.
Elements of fiction
Just as a painter uses color and line to create a painting, an author uses the elements of fiction to create a story:
The elements of fiction are: character, plot, setting, theme, and style. Of these five elements, character is the who, plot is the what, setting is the where and when, and style is the how of a story.
A character is any person, persona, identity, or entity whose existence originates from a fictional work or performance.
A plot, or storyline, is the rendering and ordering of the events and actions of a story, particularly towards the achievement of some particular artistic or emotional effect.
Setting is the time and location in which a story takes place.
Theme is the broad idea, message, or lesson of a story.
Style includes the multitude of choices fiction writers make, consciously or subconsciously, as they create a story. They encompass the big-picture, strategic choices such as point of view and narrator, but they also include the nitty-gritty, tactical choices of grammar, punctuation, word usage, sentence and paragraph length and structure, tone, the use of imagery, chapter selection, titles, and on and on. In the process of writing a story, these choices meld to become the writer's voice, his or her own unique style.
Character: Characterization is one of the five elements of fiction, along with plot, setting, theme, and writing style. A character is a participant in the story, and is usually a person, but may be any persona, identity, or entity whose existence originates from a fictional work or performance.
Characters may be of several types:
• Point-of-view character: the character by whom the story is viewed. The point-of-view character may or may not also be the main character in the story.
• Protagonist: the main character of a story
• Antagonist: the character who stands in opposition to the protagonist
• Minor character: a character that interacts with the protagonist. They help the story move along.
• Foil character: a (minor) character who has traits in aversion to the main character
Plot: A plot, or storyline, is the rendering and ordering of the events and actions of a story.
On a micro level, plot consists of action and reaction, also referred to as stimulus and response. On a macro level, plot has a beginning, a middle, and an ending. Plot is often depicted as an arc with a zig-zag line to represent the rise and fall of action.
Plot also has a mid-level structure: scene and sequel. A scene is a unit of drama—where the action occurs. Then, after a transition of some sort, comes the sequel—an emotional reaction and regrouping, an aftermath.
On a micro level, plot consists of action and reaction, also referred to as stimulus and response. On a macro level, plot has a beginning, a middle, and an ending. Plot is often depicted as an arc with a zig-zag line to represent the rise and fall of action.
Plot also has a mid-level structure: scene and sequel. A scene is a unit of drama—where the action occurs. Then, after a transition of some sort, comes the sequel—an emotional reaction and regrouping, an aftermath.
Setting: Setting is the locale and time of a story. The setting is often a real place, but may be a fictitious city or country within our own world; a different planet; or an alternate universe, which may or may not have similarities with our own universe. Sometimes setting is referred to as milieu, to include a context (such as society) beyond the immediate surroundings of the story.
Theme: Theme is what the author is trying to tell the reader. For example, the belief in the ultimate good in people, or that things are not always what they seem. The moral of the story, if you will.
Style: Style includes the multitude of choices fiction writers make, consciously or not, in the process of writing a story. It encompasses not only the big-picture, strategic choices such as point of view and choice of narrator, but also tactical choices of grammar, punctuation, word usage, sentence and paragraph length and structure, tone, the use of imagery, chapter selection, titles, and on and on. In the process of creating a story, these choices meld to become the writer’s voice, his or her own unique style.
Components of Style: For each piece of fiction, the author makes many choices, consciously or subconsciously, which combine to form the writer's unique style. The components of style are numerous, but include point of view, choice of narrator, fiction-writing mode, person and tense, grammar, punctuation, word usage, sentence length and structure, paragraph length and structure, tone, imagery, chapter usage, and title selection.
Narrator: The narrator is the teller of the story, the orator, doing the mouth work, or its in-print equivalent.
Point of View: Point of view is from whose consciousness the reader hears, sees, and feels the story.
Tone: Tone is the mood that the author establishes within the story.
Suspension of Disbelief: Suspension of disbelief is the reader's temporary acceptance of story elements as believable, regardless of how implausible they may seem in real life.
Instructions For Outlining A Novel and Sample Chapter
The Task: Write a 3-4 page outline for a novel that you would like to write.
Be sure to label each section of your outline clearly. Your Outline Must Include each of the following elements:
Overview
• A short paragraph introduction explaining very briefly what story is about when/where it is and the genre in which you are writing.
Character Descriptions
• 3-4 main characters is the maximum recommendation. 1 paragraph about each character, be sure to include information about the “inside” person as well as their physical characteristics.
Suspension of Disbelief: Suspension of disbelief is the reader's temporary acceptance of story elements as believable, regardless of how implausible they may seem in real life.
Instructions For Outlining A Novel and Sample Chapter
The Task: Write a 3-4 page outline for a novel that you would like to write.
Be sure to label each section of your outline clearly. Your Outline Must Include each of the following elements:
Overview
• A short paragraph introduction explaining very briefly what story is about when/where it is and the genre in which you are writing.
Character Descriptions
• 3-4 main characters is the maximum recommendation. 1 paragraph about each character, be sure to include information about the “inside” person as well as their physical characteristics.
Setting(s)
time and place as well as how setting is connected to the plot and themes
POV
Will your story be told from a 1st person or 3rd person perspective? Will you use past or present tense? Why are you making the choice you made?
Chapter Outlines
Explain chapter by chapter how the plot will develop. (If it helps you to plot this graphically you may do so. Be sure not to overwrite this section. I only need 1 or two sentences for a short chapter, 3 or 4 for a long one)
Focus Chapter
time and place as well as how setting is connected to the plot and themes
POV
Will your story be told from a 1st person or 3rd person perspective? Will you use past or present tense? Why are you making the choice you made?
Chapter Outlines
Explain chapter by chapter how the plot will develop. (If it helps you to plot this graphically you may do so. Be sure not to overwrite this section. I only need 1 or two sentences for a short chapter, 3 or 4 for a long one)
Focus Chapter
Pick the chapter that you think will be the best of the bunch. Explain why this will have
the most appeal –>Then write a 20 page, double spaced draft of it.!
BONUS * What literary element(s) do you think you will include in your writing?
Friday, April 9, 2010
Journal #10
The Most Memorable Moments in High School
As teachers, we are often reminded that some of the most valuable lessons students learn in high school aren't the ones we plan for in lessons. A student, for instance, may learn more (in life terms) from a teacher who refuses to accept a late assignment than from one who teaches her how to factor binomials.
What have been some of the most important lessons or skills, both curricular and non-curricular, that you have learned in high school? What are some of the moments from the past 4 or 5 years that you think you will be most likely to remember as an adult? Don't forget to be reflective...
As teachers, we are often reminded that some of the most valuable lessons students learn in high school aren't the ones we plan for in lessons. A student, for instance, may learn more (in life terms) from a teacher who refuses to accept a late assignment than from one who teaches her how to factor binomials.
What have been some of the most important lessons or skills, both curricular and non-curricular, that you have learned in high school? What are some of the moments from the past 4 or 5 years that you think you will be most likely to remember as an adult? Don't forget to be reflective...
Wednesday, April 7, 2010
ISU Choices
So.... here it is again, in the right place. What are you planning to read? Please comment.
Thursday, April 1, 2010
Cliche Busters!
Take a Look at Lake Superior State University's 2010 Banned Word List. The people at the university do an important public service by remaining ever vigilant and pointing out our collective abuse of cliche.
Do you speak and write in cliches? How many cliches do you think exist in English? Have a look at the following (incomplete) list at how many one writer was able to find.
Now try to invent your own alternatives for this top 10 list of "Worst Cliches." Submit your suggestions as comments to this post.
all talk, no action
bark up the wrong tree
couldn't care less
drive you up a wall
every fiber of my being
gives me the creeps
in a nutshell
kid in a candy store
low man on the totem pole
raining cats and dogs
**
Do you speak and write in cliches? How many cliches do you think exist in English? Have a look at the following (incomplete) list at how many one writer was able to find.
Now try to invent your own alternatives for this top 10 list of "Worst Cliches." Submit your suggestions as comments to this post.
all talk, no action
bark up the wrong tree
couldn't care less
drive you up a wall
every fiber of my being
gives me the creeps
in a nutshell
kid in a candy store
low man on the totem pole
raining cats and dogs
**
Subscribe to:
Comments (Atom)