EA 1010 Day 4-5
Due next time:
- Readings including starting The Boys in the Boat so we can talk about it’s narrative strategies next week…
- Use Onesearch and Google to help find 3 or more articles dealing with your literacy narrative. These sources can be good quotes about your topic, interesting details or facts about your topic, and/or other literacy narratives about the same topic, but with contrasting details you can use to add more contrast. Try Boolean search limiters or expanders not and and.
- Early draft of literacy narrative
- Web Calendar has a possible outline you could follow with questions that might prompt you to tell the more focused parts of your literary narrative—Freytag’s Triangle diagrams can help some people think about how we can tell stories, or structure a minimum of 3 scenes in our story (the rising conflict scene, the climactic scene, and the scene from the aftermath of the climax)
Ch. 12 suggests we watch videos from It Get’s Better…
- Do their oral story telling scenes have plot pull?
- Which parts stand out and why?
- Do some of them lack narrative completely?
- What is the significance of their stories
Start with your in-class writing about the other side being or not being stupid…are you in any echo chambers?
- Share some of your freewrites…
- Like I discovered last time, I could write a literacy narrative about my increasing political literacy, though it does come at a cost of treating politics like sports—I want my team to win! But this doesn’t allow me much room to listen to the other side…
- Journal 2 for the literacy narrative: Let’s hear some of your messy freewriting or brainstorming or clustering:
- Student “Shelly”: We don’t know much when we are young…I was driving, I saw the bottom of a jeep, the one that hit me, through my windows…I was stunned and I couldn’t move…I was severely broken…the last thing I heard was mangled metal, horns blaring, and Kansas playing…my father was behind me…independence was taken away
- Student “Jeff”: has an intro about learning about computers and programming…some good sensory details and metaphorical detail—the dust swirling around the basement, the crunch of walking over computer parts, “a jungle of technology” is a metaphor (no like or as)…adds to the wild, messiness of the setting…
- 1pm class topics: Working at Yellowstone national park
- Turning point
- Struggle, difficulty—conflict
- With other characters/people, groups
- with self
- with philosophies
- with your body
- 1pm: works at coffee shop, knows how to whip up a mocha
- if you don’t talk, you don’t get paid, she knows how to listen, how to read people
- some people want flirting before they tip, some don’t want any chit chat and leave their change…
- 1pm: circus arts, arials,
- learning basics, form is secondary,
- safety and self confidence and self knowledge, but not arrogant
- 1pm: living in 11 different homes
- was introverted, but moving and having to meet new people
- 1pm: not wanting to treat others like she was treated
- not bullying, having positive impacts on others
- 1pm: American culture and its education system
- New cultures are always hard to understand cultural, linguistic, and regional details
- 7pm class:
- Descriptions of action, people/characters doing things
- What do various characters say to each other that can enhance the story, move the story forward, or build up character realism?
- sensory details often help the reader really feel like they are there with you
- sight, touch, audio, smell, taste, psychic
- comparisons or imagery—compare the literal abstract action or moment or idea to a specific image (use Shakespeare’s “My Mistress’ Eyes…” Metro p. 305
- Similes with like or as--
- Metaphors without like or as
- Analogies—kissing It’s like when you…are just about to fall asleep, but you suddenly start, your body shaking awake, and you feel euphoria, and you feel scared, and you can’t think clearly, you forget where you are…
- Exposition—philosophizing, thinking about significance…backstory
- Being about one thing, and one thing more
- But what are you going to put in and leave out or delete? You can limit your scenes to 3 if that helps—only the most important three scenes will require you to delete a lot…
Narrative Checklist—ch. 12—also known as memoir or creative-nonfiction essay writing or personal essay—after you do some writing based on you Journal 2, you should look over this list of things your literacy narrative will likely need:
- The central event/scene, the top of Freytag’s triangle
- What’s the central event/scene or realization or argument claim answer? How did you start your journey toward literacy, and when did you finally feel like you had arrived?
- Structure (see Jan. 29th quick outline in web calendar)
- What will be your beginning, middle/climax, and end?
- Freytag’s triangle with a climax 2/3rds of the way in…
- What time sequences will you follow: Chronological, or are you going to go back and forth in time…? Reverse Chronology? Will you start at the end?
- Beginnings—some authors always start in media res—in the middle of action, or in the middle of a scene, with dialogue if you can, with the climax or moment of realization/epiphany in mind…the pivotal moment in your story that your details are leading toward…what’s the high point of your most important scene? Is that also the high point of the overall story?
- How will you deal with set up or backstory? How can you avoid too much of this? What will you cut?
- Where does this take place, and is it or can it be significant?
- What does the landscape do to add to your narrative scenes? What about the room you were in when you got a Cancer diagnosis, and how did that help you become a Cancer expert? Or when you were told you couldn’t go to college, what did you do next?
- Vivid Description and/or Imagery:
- Where do you get low on the scale of abstraction? Certainly the room you were in when the doctor told you you had cancer is significant…or maybe you heard it over the phone when you were having a martini at the Red Door bar…
- Imagery—metaphors and similes and analogies—often used to paint a picture of something abstract
- POV—point of view
- Who tells the story? Who is the story about? For this essay, both are probably you…
- First person—I do this, I think that, I walked over to the bookshelf…
- 3rd person omniscient—use they, her, sally
- 3rd limited—sally walked to the drug store to buy condoms. She had never been shopping for condoms, so when she got inside the store, she froze.
- Voice—what attitude are you using to give a specific spin to your narrative
- Tone—Aristotle’s Appeals?
- pathos, or emotion, personal;
- or maybe you’re tone is more from logos or logical sounding
- ethos if you are trying to sound ethical or like an authority
- Significance, or Robert Frost’s “one thing more,” or theme? A clear point that’s stated, or a more implied point that attentive readers can see in your use of ambiguous and descriptive language (words with many meanings, like sensory details, similes, metaphors, analogies)
- Avoiding “and then” story telling
- most of the time “and then” is implied by the sequencing of sentences/paragraphs
- jump to where the character’s next significant place or scene is
- without “onesy twosy writing” descriptions of narration or action
Narrative—what to include, and what to leave out…EA p. 164
- A good narrative topic and/or story type
- like a coming of age story, a pivotal moment story, a time when you thought you would die story, a literacy narrative within any discourse community,
What rhetorically or topically interesting/controversial things did you see/read/watch over the weekend or the last few days? Everyone needs to share at least once this semester…
Or what stories did you hear over the long weekend?