Dialogue is a critical component of stories. Today we look at how to use dialogue without overusing it or - worse still - using incorrect attribution.
Writing represents a complex interplay between author, audience, and artifact. As a teacher, my goals are to help students identify their personal writing goals, illustrate the importance of social and cultural considerations that affect genres, and then guide them in preparing works that will resonate with readers. The lesson plans shared here represent several years of my teaching.
Showing posts with label voice. Show all posts
Showing posts with label voice. Show all posts
Monday, February 14, 2011
Friday, April 16, 2010
Radical Revision - Expanding Your Fiction
Radical Revision is one of the quickest ways to jump-start a story which may be hard to write. One reason we assign this exercise is because it encourages you to view your work from multiple angles, and this in turn will give you more ways to approach writing in the future. I've adapted this exercise to help overcome a common issue that writers face: insufficient detail.
Tuesday, February 23, 2010
Writing the Voice Sketch
In my experience, one of the most difficult parts of writing a voice piece is finding a way to capture a unique voice without exaggerating that voice to the point of disbelief. And the two pieces we read for class cut a very fine line here, managing to capture some of the extremes of local dialects without inflicting a cliche.
Labels:
fiction,
IFP,
military,
point of view,
voice,
voice sketch
Wednesday, February 10, 2010
What is a Setting Poem?
Before I discuss the specifics of setting poems, I'd like to introduce a major concept in poetry which is often overlooked when trying to categorize poems. Essentially, any poem has elements of every poem. For example, in Bishop's "In the Waiting Room," it's a narrative poem, but we have the elements of a child-like voice and the setting details surrounding her narrative. In Larkin's "Church Going," we have a similar effect, but it's a setting poem because the narrative is somewhat less important, but we still have some elements of narrative along with the voice of a man who's detached from religion and church in general.
Labels:
"Church Going",
"Sunday Afternoons",
IFP,
imagery,
narrative,
Philip Larkin,
poetry,
setting,
setting poem,
voice,
Yusef Komunyakaa
Wednesday, February 3, 2010
What is a Voice Poem?
At its heart, a voice poem is about this nebulous term we know as "voice." The easiest way I've found to think of this is to imagine the voices of people I've met and picking apart the interesting differences that come out. Unfortunately, this can be harder than it sounds - most of the people we know and hang out with speak the same way we do. They are interested in the same topics, and they often hold the same views and opinions. And this is somewhat natural. Just think about chemistry: we're kinda the lipids in olive oil doing our best to avoid the wrong-headed vinegar peeps in our lives.
Labels:
IFP,
perspective,
poetry,
point of view,
tone,
voice,
voice poem
Subscribe to:
Posts (Atom)