DAY 5 TOPICS Spotlight Workshops Character Development.
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Transcript of DAY 5 TOPICS Spotlight Workshops Character Development.
DAY 5 TOPICS
Spotlight WorkshopsCharacter Development
SPOTLIGHT WORKSHOPS
5 JULY
HOLIDAY
6 JULY
PRE-WORKSHOP
7 JULY
1. MONICA2. JEANIE
8 JULY
3. JACK4. KENNY
12 JULY
5. MARK6. MARIAH
13 JULY
7. BETH8. JOLENE
14 JULY
9. DAN10. DERIK
15 JULY
11. SHAWN12. GUS
19 JULY
13. TIM14. KATE
20 JULY
15. PAUL16. JUSTIN
21 JULY
17. KYLE18. TAMIE
Writer’s Notebook: Share Something
Share one or more new entries with your partner.
Prepare to be solicited: volunteersthe habitually modest
WRITING EXERCISE
JR 14: SHARE Rough Character Idea
Commit to a rough idea of who your main character is. Don't worry about the details or the storyline, at this point in time: simply tell me a bit about her/him.
REVEALING CHARACTER Showing versus Telling (i.e., scene versus exposition)
SHOWING WINS!!!!
In real life, you don't sit down and lay out the beautiful and ugly things about yourself all at once. Intricacies revealing beauty and ugliness are revealed gradually.
Showing gives the reader more with which to engage actively.
FOUR METHODS
SHOWING A CHARACTER'S TRAITS
ACTION SPEECH
APPEARANCETHOUGHT
All four work together to create the symphony that is your character. In real life, we experience people in a variety of ways, often simultaneously, and mixing the methods, as writers, recreates this sense of reality.
The strings, winds, brass, and percussion of an orchestra unite into a harmonious or purposeful discordant whole: in writing fiction, you are the composer who must unite the discordant sounds into a harmonious whole.
POINTS OF VIEW
1st: I, we 2nd: you, you 3rd: he, she, it, they, Marita Cruz
advantages and disadvantagesfreedom and limitations
FIRST-PERSON POV
subjective distinctive way of voicing the narrator’s
world I: “Cathedral” is Bub’s story—not some narrator’s story about
Bub
we: “A Rose for Emily” is the town’s story—not some narrator’s story about the towns people and a woman
extremely limiting: why?
SECOND-PERSON POV
risky perspective:calls attention to itself as technique
(metafiction)filled with presumption
Minot’s “Lust”—I to you
Hemmingway’s “XII”—invites reader to experience the thrill of a bullfight
THIRD-PERSON POV
subjective objective omniscient
The three perspectives do not necessarily exist separately: they are a writer’s primary colors.
WRITING EXERCISE
JR 17: Third-Person Point of View
Write in third-person POV: your character sees his or her own reflection.
challenge yourself: do not use a mirror.
WRITING EXERCISE
JR 18: First-Person Point of View
Scroll down so you are unable to see JR 17.Write in first-person point of view: recreate the
same scene.
What are the differences between 1st- and 3rd-person points of view, rhetorically speaking?
RHETORICAL DIFFERENCES BETWEEN POINTS OF VIEW
FIRST-PERSON POINT OF VIEW ASSUMPTIONS
reliability is questioned "biased" and, therefore,
skewed representation is provided
showing lens: the main character is the camera—can only see what the camera sees
the reader can only know what the character knows
THIRD-PERSON POINT OF VIEW ASSUMPTIONS
"reliable" perspective "fair" representation is
provided showing lens: the camera
considers the whole scene with the main character as part of the whole
the reader can know what the character doesn't (i.e., there is license for the writer to fill in the blanks via exposition)
the main character's thoughts are not easily inserted in scenes
WRITING EXERCISE
JR 19: Interrupting/Jump Starting Action
a. Cut and paste either your first-person or third-person POV segment in the new journal entry space.
b. Add to the scene by having someone interrupt your character via action and dialogue.
WRITING EXERCISE
JR 20: “Boys and Girls”
You have the remainder of the class to respond to the title “Boys and Girls.” Write as much as you can, as quickly as you can.