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| Oct 20 2006, 9:14 AM EDT (current) | UEWorkshop | 712 words added, 37 words deleted |
| Oct 12 2006, 10:12 PM EDT | UEWorkshop | 3 photos added |
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ThisWriting workshopis willmore beginthan just putting the words together on Friday,a monitor screen. As we’ve seen in the self-editing checklist, there are many aspects to take into consideration. For today’s Writing Techniques Workshop, we’re going to take a look at point of view (POV), word choice, and balancing narrative, exposition and action. Links follow each section. Comments and links are welcome. Don't forget the Writing Techniques Practical Applicationi Page.
POV: Point of View. View is the key word. POV refers to the character through whose eyes the reader sees the action unfold. If the character can see it, taste it, smell it, touch it, Octoberexperience 20th.it, know it, then you may describe it.
We'll"Headhop" berefers to addressinga pointsudden switch in POV. The general rule of view,thumb sentenceis structure,to wordstay in one of choice,the balancemain (narrative,character’s exposition,POV action).throughout a scene.
The formatWriter’s Writing Guide: POV by Rachel Simon: http://www.rachelsimon.com/wg_pov.htm
Point of View by Lori Soard: http://www.theromanceclub.com/writers/articles/art0005.htm Perspective Vs. Point Of View © By Leslie King: http://www.rrrw.org/pvrsp.html
Whose Point of View is That by Beth Anderson: http://www.bethanderson-hotclue.com/workshops/whose-point-of-view-is-that/
SERIES 2, TIP SHEET #7: VIEWPOINT
Copyright 2003, by Linda Hope Lee
http://www.lindahopelee.com/tip7.html
WORD CHOICE: Instead of relying on weak, wimpy nouns and verbs, go for the gusto. Vague nouns and weak, passive verbs necessitate (over-using) adverbs and adjectives. Strong, clear nouns and vivid, active verbs will beboost the impact of your writing asand follows.strengthen your voice.
1000 Verbs to Write By by Deanna Carlyle: http://www.deannacarlyle.com/articles/verb.html
1.The Writer’s Writing Guide: Structure by Rachel IntroductionSimon: ("lecture")http://www.rachelsimon.com/wg_structure.htm
2. BALANCE
Story Linkselements are communicated through the narrative elements and include: character, setting, conflict.
NARRATIVE ELEMENT:
Narrative elements are unique to articleswritten storytelling and are the way we categorize the words on thesethe page. These generally don't translate to other forms of storytelling. Or if they do translate, they are mutated in the process -- interior monologue in a book, for example, might be translated into a narrative voiceover subjectesin film.
1. Dialogue 2. Description (and, point of view) 3. PracticalAction Application 4. Interior monologue 5. Exposition a. narrative summary (compressing the story) b. backstory (outside the strict chronology of the story) How to craft a narrative.... Dialogue: "The ear part of (onthe story." This is how characters reveal info to each other. The 3rd person in this is the reader--how does the reader process? Reader needs more info besides the dialogue... Dialogue can be used to reveal conflict, setting. CONVERSATION reveals info. DIALOGUE reveals info + conflict, setting... Remember, endless dialogue weighs the story down. DESCRIPTION--visual --Grounds and orients the reader --Creates a visual cue --Not active 3 Strokes: 3 descriptive details for new characters/setting--if they're the right ones. You want the descriptions to STAND OUT. Description is static. But can be evocative and precise. Use more description at the beginning of the novel, rather than at the end. What the character notices of their environment is telling about the character. As a general rule, description will slow the pace down. Description is driven by the importance of the setting. ACTION--the kinetic part What the characters do on the set you've created. Set action with dialogue (like stage direction). A true action scene needs to be tightly focused on the action. Don't forget cause/effect, sequencing, chronology. The hidden layer between cause and effect is EMOTION (the connective tissue). Filter action through point of view. Passive voice and misplaced modifiers can kill the action. The Glue: Interior Monologue is what's going on inside the character's head/heart. Thoughts, feelings. Allows us to more fully "get into" the character. It's how we bond with the character. This is subjective and view-point driven. Socratic interior monologue: the Q and A format. Be sure if you're asking the "Q" that you "A" the "Q". Character pep talks--is an effective use of 2nd person interior monologue. EXPOSITION: time line manipulations 1. Narrative summary. Can be cut if it's ownunimportant Compresses unimportant info and allows us to pick up the pace. Don't want to create the wrong impression. 2. Backstory ("had" conjugated to show the past) Will page).weigh down pace. Use sparingly--when totally necessary. Do it quickly and get back to the action. ~From notes on a Narrative Elements workshop given by Theresa Stevens
The Writer’s Writing Guide: Exposition by Rachel Simon: http://www.rachelsimon.com/wg_exposition.htm Effective Narrative by Dr. Vicki Hinze: http://www.fictionfactor.com/guests/narrative.html
Writing Techniques Practical Application Page
Characterization
Characterization Practical Application Page
Self-Editing
Self-Editing Practical Application Page
