storytelling ideas

One last story for the portfolio.

You can't tell a story if you cannot reflect on it from a distance. Write about an incident that happened your freshman year.

Keep the following in mind:

Who were you at the time? (We have to assumed you have changed since then)
How did you react to the situation? (Are you proud, ashamed, embarrassed, shy, angry?)
What did you learn from the situation? (Whatever you do don't say, "What I learned through this situation was  . . . ) Show me don't tell me.

Use this story as a chance to use all of the storytelling techniques we have learned this semester from scene setting to character building (even when the person is real) to cutting out all of the extraneous material to make the ideas clearer.

There is no word count but write for the ear. If you were going to stand up and hear this story how would it go over?

See you Thursday.

What needs to be in your folder.

Polished versions of the following

 1.     CNF essay on the reading (or not reading) of the book I gave you.

2.     Two sessions of observations 

3.      Three interviews to expand on the research you have done and give the piece texture. 

4.     All of your responses to your Town Hall questions

5.     The rework of one assignment for the mid-term

6.     The interview of your dancer as a “movement artists”

7.     Your short scene

8.     500 words – what you have learned about yourself as a writer.

So you should have eight polished and finished pieces in your folder.

Writing words are hard

Writing one

Bridesmaids

Writing good dialogue takes practice and patience.  Here are ten tips for you to improve how you write your dialogue so your conversations crackle on the page.

1- Read dialogue aloud.  It’s meant to be heard, after all.  This will help you to listen to the voices of your characters, noticing the flow and movement of their words.

2- Don’t use dialogue to convey large chunks of information (exposition).  People don’t sound like this: “Since we arrived here at four, to watch for Martin Goodfellow, the murderer, I’ve felt hungry.”  It’s okay if readers don’t know exactly what’s happening at all times – trust them to understand the story because they are intrigued by the voices of your characters.

3- Dialogue should sound real, but that doesn’t mean dialogue on the page is exactly like snippets of dialogue you overhear.  You don’t need all the Hellos, Goodbyes and boring small talk of daily life.  Cut it out.

4- Good dialogue should move the story forward, convey character and feel full of life.  The best place to see great dialogue is by attending (or reading) plays, watching movies or even just switching on the TV.

5- If you want your character to say, “I need you,” think about the words they would actually use.  Perhaps they’d say, “I can’t- Do you have to catch the early bus?”

Jane Espenson writes, “Want to write an emotional moment?  Increase your quotient of stumbles and restarts.”  She writes scripts for TV (shows like Buffy and The Gilmore Girls) and her insight into writing dialogue is helpful to think about here.

6- Learn how to write the correct punctuation for speech.  It’ll be a useful tool for you as a writer, making it easier for you to write the dialogue you want, and it’ll help your work look professional when publishers read it.

7- Another technical dialogue tip: he said and she said read just fine.  Don’t worry about repetition, most readers glide over he said/she said as if those words were punctuation.  Too many of these: exclaimed, gasped, screeched, postulated, reasoned, argued, pondered, mouthed, etc… and your dialogue will be overwhelmed by the words around it.

8- Have people argue with people, or have people saying surprising, contrary things.  If everyone is agreeing with each other, your story will feel flat.

9- Think about how each of your characters sounds.  Make each voice distinct – this can be subtle or dramatic.  Perhaps one character likes to use a certain word or short phrase, so make sure the other characters don’t use that same word or phrase.  It’s a small distinction, but useful.  More dramatic distinctions are up to you!

10- People don’t have to answer each other directly.  Sometimes what’s not said has huge meaning.

Writing the short play

“To translate knowledge and information into experience: that seems to be the function of literature and art.” 

                            ― Joseph Campbell, The Hero's Journey: Joseph Campbell on His Life & Work

Here are some movies to get us started

The Hero’s Adventure Basic Recipe

Here is a basic recipe to demonstrate how the Hero’s Adventure plays out. This is a template you can apply to your own work-in-progress—you might be surprised by how closely it matches elements you already have in play.

• A messenger comes. The messenger might be human, or a message might come from an experience—like a brush with death or a dream. At any rate, something has gone wrong; the natural order of the world has been disturbed.
• A problem is presented. Perhaps something has been taken away from the tribe, or some misfortune or malfeasance has occurred.
• Someone is marked out as the person to solve this problem. She is chosen according to some past deed of her parents or by her own reputation or happenstance. This person, of course, emerges as the hero at the end.
• A challenge takes shape. The challenge may be refused, at first. “No way, I’m not going to risk my neck for that!”
• A refusal, often. But eventually the hero decides to accept the challenge. She might even be forced to accept it by circumstances.
• The challenge is accepted. The adventure begins.
• The hero leaves the familiar world. And she sets off into another world. It’s dangerous. The hero could use some help, and very often …
• Helpers materialize. A helper might have special skills the hero doesn’t have, or he might have special insights or wisdom, in which case he takes the form of a mentor.
• Setbacks occur. The hero is tested, she makes gains, she endures setbacks, she fights for what is right, she resists evil. The going’s tough!
• The hero regroups and gains some ground again. Maybe she needs another visit to a mentor, or maybe she makes a personal breakthrough and overcomes a great inner obstacle, perhaps her own fear.
• The foe is vanquished or the elixir is seized. Eventually she defeats the foe or comes into possession of something that will restore the natural order—a cure, or new knowledge that will bring justice or the return of prosperity.
• The hero returns to the familiar world. And the problem is fixed, or justice is done. The natural order is restored.

The person who accepts the challenge and prevails is elevated to a special position, somewhere above human, somewhere below god. She is the hero.

The Hero’s Adventure at Work

Famous stories from King Arthur and Excalibur to The Wonderful Wizard of Oz to The Little Engine That Could to Harry Potter are based on the Hero’s Adventure. Let’s look at a concrete example from a well-known source: the Sherlock Holmes story “The Adventure of the Speckled Band” by Sir Arthur Conan Doyle.

• A messenger comes. Holmes and Watson are hanging out in the familiar world of 221B Baker St. when a young lady comes calling.
• A problem is presented. The young lady tells Holmes that her sister has died under strange circumstances, and she now fears for her own life.
• Someone is marked out as the person to solve this problem. Knowing of Holmes’ reputation, the young lady asks him for help.
• A challenge takes shape. Holmes asks many questions, and perceives the seriousness of the situation.
• A refusal, often. Holmes rarely refuses a challenge, though he has been known to be reluctant at times. In this case, Holmes senses great urgency, so he doesn’t waffle.
• The challenge is accepted. The adventure begins.
• The hero leaves the familiar world. Holmes sets off from 221B Baker St. and enters the busy, raucous streets of London, thence to a creepy old mansion in the country. It’s dangerous. The hero could use some assistance.
• Helpers materialize. And guess what? He’s got Watson at his side! Much investigation occurs, with progress, and then …
• Setbacks occur. Things go wrong, problems turn out to be more difficult than anticipated.
• The hero regroups and gains some ground again. After a nail-biting, death-defying climax, Holmes prevails, discovering a deadly plot and a bizarre method of murder. The perpetrator is killed by the very method he had used to kill another.
• The foe is vanquished or the elixir is seized. Holmes and Watson wrap up the case for the local police and return to their flat in London.
• the Hero returns to the familiar world. And we feel secure because we know justice has been done; the killer cannot kill again. The natural order
  is restored.

Read or watch practically any good, successful story you will find similar story bones. This is not by accident. Good writers have instincts for such things. We sharpen our instincts by studying and by writing, which you’ve been doing all along.

Now we will choose one of the moments from the Hero's Journey to make into a two-person, maybe three-person scene. 

Use your information from your content in Town Hall or other issue to use as the foundation of the scene. 

And how do we format a scene? 

Here is a style guide from the City Theater in Pittsburgh

Here are some one-act play resources:

 

Stan Lee - think butts in seats rather than turing pages

Like he says, "You just have to keep interesting yourself while you are writing it."

Read and watch to be inspired. Christopher and Jessi, if you have any suggestions feel free to send them to the class. Here are some of mine:

Take a Seat (he's channeling his inner Woody Allen.)

You can also Google "Family 2.0" and see a variety of interpretations of this short play. Here is a high school one that I like - but there are many, many variations on the YouTube

The Mid-term

First things first:

1. Make sure all of your assignments are complete in your writing folder.

2. Make a separate folder inside your personal folder to place both your Town Hall assignment and the piece(s) you wrote for Town Hall.

For the midterm in specific:

1. Review the elements of creative nonfiction below. Choose one of your assignments and rework it to reflect the aspects of creative nonfiction. DUE Monday, March 13

2. Your midterm is to do a profile of your dancer that does NOT include where they are from or where they went to school. This is a profile of who they are as “movement artists”. You have watched them and spent time with them now it is time to write about them in particular. DUE Thursday, March 23

Let's get a reminder of what makes a piece of writing creative non-fiction:

Elements of Creative Nonfiction

The creative nonfiction writer often incorporates several elements of nonfiction when writing a memoir, personal essay, travel writing, and so on. The following is a brief explanation of the most common elements of nonfiction:

• Fact. The writing must be based on fact, rather than fiction. It cannot be made up.
• Extensive research. The piece of writing is based on primary research, such as an interview or personal experience, and often secondary research, such as gathering information from books, magazines, and newspapers.
• Reportage/reporting. The writer must be able to document events or  personal experiences.
• Personal experience and personal opinion. Often, the writer includes personal experience, feelings, thoughts, and opinions. For instance, when writing a personal essay or memoir.
• Explanation/Exposition. The writer is required to explain the personal experience or topic to the reader.
• Essay format. Creative nonfiction is often written in essay format. Example: Personal Essay, Literary Journalistic essay, brief essay.

Literary Elements

Creative nonfiction is the literature of fact. Yet, the creative nonfiction writer utilizes many of the literary devices of fiction writing.  The following is a list of the most common literary devices that writers incorporate into their nonfiction writing:

• Storytelling/narration. The writer needs to be able to tell his/her story. A good story includes an inciting incident, a goal, challenges and obstacles, a turning point, and resolution of the story.
• Character. The nonfiction piece often requires a main character. Example: If a writer is creating his/her memoir, then the writer is the central character.
• Setting and scene. The writer creates scenes that are action-oriented; include dialogue; and contain vivid descriptions.
• Plot and plot structure. These are the main events that make up the story. In a personal essay, there might be only one event. In a memoir, there are often several significant events.
• Figurative language. The writer often uses simile and metaphor to create an interesting piece of creative nonfiction.
• Imagery. The writer constructs “word pictures” using sensory language. Imagery can be figurative or literal.
• Point of view. Often the writer uses the first person “I.”
• Dialogue. These are the conversations spoken between people. It is an important component of creative nonfiction.
• Theme. There is a central idea that is weaved through the essay or work. Often, the theme reveals a universal truth.

Lee Gutkind wrote an essay called “The Five R’s of Creative Nonfiction.” In this essay, he identified five essential elements of creative nonfiction. These include:

1. Creative nonfiction has a “real life” aspect. The writer constructs a personal essay, memoir, and so forth, that is based on personal experience.  He also writes about real people and true events.
2. Creative nonfiction is based on the writer engaging in personal “reflection” about what he/she is writing about. After gathering information, the writer needs to analyze and assess what he/she has collected. He then must evaluate it and expression his thoughts, views, opinions. Personal opinion is permissible and encouraged.
3. Creative nonfiction requires that the writer complete research. The writer needs to conduct research to learn about the topic. The writer also needs to complete research to discover what has been written about the topic. Even if a writer is crafting a personal essay, he will need to complete secondary research, such as reviewing a personal journal, or primary research, such as interviewing a friend or family member, to ensure that the information is truthful and factual.
4. The fourth aspect of creative nonfiction is reading. Reading while conducting research is not sufficient. The writer must read the work of the masters of his profession.
5. The final element of creative nonfiction is writing. Writing creative nonfiction is both an art and craft. The art of creative nonfiction requires that the writer uses his talents, instincts, creative abilities, and imagination to write memorable creative nonfiction. The craft of creative nonfiction requires that the writer learn and deploy the style and techniques of creative nonfiction in his/her work.

Magazines

There are also many popular magazines that publish all types of creative nonfiction, including:

• The Atlantic  ( http://www.theatlantic.com/ )
• The New Yorker ( http://www.newyorker.com/ )
• Vanity Fair ( http://www.vanityfair.com/ )
• Esquire (http://www.esquire.com/)
• The Walrus ( http://www.walrusmagazine.com/ )

Read this classic creative nonfiction piece 

Frank Sinatra Has a Cold

Week of January 30

ANNOUNCEMENTS OF THE DAY January 12, 2017 NOW ACCEPTING APPLICATIONS! Every summer, the Television Academy Foundation offers 50 television industry internships in over 30 disciplines. These eight-week, paid positions at major media companies provide professional experience, career development and networking opportunities to talented students nationwide. Postmark deadline is March 15, 2017 APPLY TODAY CATEGORIES INCLUDE: New for 2017 Business of Physical Production · Motion & Title Design Agency · Animation · Art Direction/ Set Decorating · Broadcast News · Casting · Children’s Programming/ Development · Cinematography · Commercials · Costume Design · Development · Digital Entertainment · Documentary/ Nonfiction Production · Editing · Entertainment News · Episodic Series · Legal & Business Affairs · Live Television Production · Marketing · Media Research · Movies for Television · Music · Post Production · Production Management · Program Planning and Scheduling · Public Relations/ Publicity · Sound · Special Visual Effects · Television Directing · Television Scriptwriting · Unscripted Television

The Buzz (Campus Newspaper) Meeting Tuesday, Jan. 31 11:30 a.m. – 12:30 p.m. The Buzz (Campus Newspaper) Meeting is from 11:30 a.m. to 12:30 p.m. in Henkel Hall, Room 228. This will be full staff meetings for the campus newspaper and new members are always welcome. For more information, please contact Michelle Adams at madams144@su.edu. First African-American Disney Animator To Hold Masterclass At Shenandoah University On Feb. 1 Floyd Norman Will Address Those Interested In the Arts, Entertainment and Media Management Winchester, Va. (Jan. 26, 2017) – Floyd Norman, Disney’s first African-American animator, will speak at Shenandoah University at 2 p.m. on Wednesday, Feb. 1, in Halpin-Harrison Hall, Stimpson Auditorium (1460 University Drive, Winchester, VA 22601). This event is free and open to the public; no registration is required. Norman will share his story about his pioneering work in the world of animation, and this presentation will allow participants to engage in thought dialogue about how they may enter into the field of animation and/or careers related to arts, entertainment, media management, design, film and animation. DON’T FORGET: WRITE TO WIN $250 IN THESE POETRY AND FICTION WRITING CONTESTS The deadline for the annual S. Gordden Link Poetry and Bruce C. Souders Fiction writing contests, sponsored by the English Department, is Monday, March 6. To enter, submit one typed copy of each entry via email to Ms. Jo Strader (jstrader@su.edu), or in person in Gregory Hall, Room 157. Your name should only appear on a cover sheet to ensure anonymity until judging is complete. Participants must be Shenandoah University undergraduate students enrolled full-time (at least 12 credits) during the 2016-2017 school year. Entrants to the poetry contest may submit a maximum of five (5) poems; there is a 5,000 word maximum for short stories submitted to the fiction writing contest. Submitted manuscripts must be unpublished in any other form. Questions? Contact Assistant Professor of English Christin Taylor, Ph.D., at ctaylor4@su.edu or stop by her office in Gregory Hall, Room 107.  Here is a cool essay on books.  How to workshop writing  When you have your writing "workshopped" you sit in the room as if you don't exist. The reader experiences your work the same as if they read it online or bought it in a bookstore. You are not there to defend the work, explain the work, interpret the work. To workshop is for you to see your words speak for themselves - and for some writers are surprised at what the work is really saying to someone. Don’t make vague statements like “it’s good.” Rather than simply stating what you think, explain why. Think in terms of whether something “works” rather than in terms of “good” or “bad.” Focus on strengths first, but don’t hide your constructive ideas about areas that could improve. Be sensitive but honest. The point is to help the writer consider ways to improve the work. Don’t be afraid to politely express your true reactions to the piece. As you read each other's stories ask the text the following questions: What is this story about? What is the most important thing it is trying to say? What works and what needs work? How could the piece improve overall? What aspects of the piece do you really like? How did the piece affect you? What sort of impact does it have, if any? Let's do this first with the books I gave to you.  Initial stage: Does the opening of the piece make you want to keep reading? Setting: Is the setting apparent? Are there details about the time/ place/location? Does the setting play an important role? Senses: Are you captivated by the writing in terms of senses/ does the writing make you taste, feel, see, smell, and hear in your imagination? Language: Is the writing exciting? Strange? Too simple? Would you need a dictionary to understand what’s happening? Predictability: Is the writing too predictable? Is it so unpredictable that it leaves too many loose ties at the end? Distractions: Is there anything in the writing that takes away from its depth? Dialogue: Does it blend well with the writing? Are the dialogue lines “normal” or too “forced”? Would you actually overhear people talking like that? Characters: Are they well-developed? Can you imagine them being actual people? Scenes and Scene Transitions: Can you tell when the scenes change? Can you keep track of the time//location throughout the story? Pace: Are there parts of the story that are “too slow” and could perhaps be more exciting or cut? Is there too much action and not enough “thinking time” in the piece? Believability: Are aspects of the story just too impossible? Conflict(s): Is there an apparent issue in the story that is attended to and resolved? Resolution: Does it appropriately tie up the issue? Is it too farfetched or cliched?   Be sensitive but honest. The point is to help the writer consider ways to improve the work. You may say something like: “The dialogue in the opening scene is an effective idea–I feel like it captures interest right off the bat–but it starts to get confusing towards the end of the opening scene...I’m not making all the connections between the characters’ lines...maybe the writer has those connections in his mind, but needs to give more direction to us readers so that we can make those same connections.” FOR THURSDAY Get in touch with you dancer and start doing your research portion of the project.  Identify who you want to interview or where you want to go to observe  Start to look at different CNF genres and begin to think about what way you want to write this.  In order to create the piece(s) you need to have the following:  1. The Town Hall research (three sources)  2. Two session of observation  3. Two - three interviews to expand on the research you have done and give the piece texture.  This is what we will be working on until Feb. 28