3450 Day 3
Web Calendar Readings and Assignments due Jan. 19
- No readings are listed in Canvas
- Sometimes there are readings on the web, so you also have to go to the web calendar for the links
- Don’t ask me in April where the web calendar is—ask questions now
Work due to Canvas tonight and Jan. 19
- Jan 19th Ex. 1 Part 1 and Part 2 started: freewrite about yourself in the ways Lopate suggests
- The main prompt is to write about a pivotal moment, but only after you have followed some of Lopate’s suggestions…
- Part 1--We freewrote in class based on:
- quirks set us apart—I shouldn’t present myself as nice or as average
- dramatize ourselves—what conflicts do I have within and with others or the world or nature or church (or whatever isn’t a too sacred cow for me)?
- what are my internal contradictions (dramatic subtext)?
- How to make sure our class shows up in your Canvas
- Turning your work into PDF’s, or uploading/attaching photos (jpegs—photos of journaling by hand)
A Few Syllabus Rules:
- Missing workshops
- Using headphones and laughing at computer: -5 points under Attendance and Participation
Dialogue in “Night” vs. “Plague of Tics”
- Night has moments where the father says things, but there are no quotes, or places where the narrator thinks back to what he meant, or to what he could have said, but didn’t
- Tics has Sedaris showing us his worst quirk, Obsessive touching, counting, and licking…but he doesn’t say he’s the weirdest one ever—Miss Chestnut does this for him—his mother mocks him as she throws a cigarette butt out the door and offers Miss Chestnut a scotch, yet she defends him casually—he’ll grow out of it--this fleshes her even more than him
Fiction vs. Creative Nonfiction Continued
- The New Yorker and POV “The Three R’s of Narrative Nonfiction”
- How do we write from another character’s POV?
- Bailey White says the more she changes or lies about, the more she’ll call it fiction
- White and Fiction (I made it all up) vs. Creative Nonfiction (but there’s very little I made up; what we are familiar with like sisters); “…one time I had visitors from out of town…” 4:30…she likes to write about spaces…she wanted a nice man in her story, Bob Dickson, an actual pastor at the Methodist Church, the kindest, funniest man…she needed a man like that in her story, so she changed a few things about him…”Almost Gone” Bob Rigsby 8:00 fat (Bob Dickson is not fat)…
- What Would they Say in Birmingham? About Lucy, 3rd POV?
Turning ourselves into characters for our creative nonfiction—Lopate
- Forester: flat vs. round characters
- Greenblat: transparent vs. opaque characters
- “will need to become knowable enough in their broad outlines to behave plausibly, and at the same time free-willed enough to intrigue us with surprises.”
- Lopate, Phillip (2013-02-12). To Show and to Tell: The Craft of Literary Nonfiction (Kindle Locations 299-300). Free Press. Kindle Edition.
- “the charm of ordinary daily existence”,
- Lopate, Phillip (2013-02-12). To Show and to Tell: The Craft of Literary Nonfiction (Kindle Locations 340-341). Free Press. Kindle Edition.
- Establish a pattern of habits and actions with variations—“teaching” the reader what to expect
- Some techniques from Lopate
- See yourself from the ceiling—quirks set us apart
- Not as nice, not as average
- Dramatize ourselves—all writing needs conflict
- What about ourselves most quickly characterizes us? Take your inventory
- Contradictions, ambivalences—what are you most conflicted by?
- We need to be “honest”
- Loc. 322 examples of extremes that trip us up
- I’m so weird—everyone is weird
- I’m so boring—everyone still has/encounters mystery
- What is our Identity Laundry list?
- But how do you give some of this information (backstory) quickly?
- Self-Hatred can be one of the stumbling blocks loc. 356
- The need to be self curious, to be self-amused
- “get in the habit of inviting, not censoring, the most far-fetched, mischievous notions, because even if they prove cockeyed, they may point to an element of truth that would otherwise be inaccessible.”
- Lopate, Phillip (2013-02-12). To Show and to Tell: The Craft of Literary Nonfiction (Kindle Locations 384-385). Free Press. Kindle Edition.
- The double perspective loc. 408, 426
- 1st we are telling the story of a memory
- 2nd we are looking back and reflecting on the memory, or thematizing the memory—this is Robert Frost’s “one thing more.”