ENG 107: Ch.3 Imaginative Writing
ENG 107: Ch.3 Imaginative Writing ENG 107-001
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This 4 page Class Notes was uploaded by Maddi Caudill on Monday February 1, 2016. The Class Notes belongs to ENG 107-001 at University of Kentucky taught by Michael W. Carter in Spring 2016. Since its upload, it has received 19 views.
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Date Created: 02/01/16
Voice • Your voice • Persona • Irony • Character voice • Point of view Diction: combination of vocabulary, the words chosen, and syntax, the order in which they are used), can impart particularly to a poem or prose, just as tone and pitch and timbre make up a particular voice • Diction will convey not only facts but what we are to make them • Not only the situation but its emotional coloration • Not only the identity but also the attitude of the person who speaks to us from the page • The authors voice has a quality developed over time, involving recurrent word choice, syntax, imagery, idiom, rhythm, and range • It comes about by a most automatic process, the result of practice and growing conﬁdence • Make your language rich, ﬂexible, and varied as you can make it • Improve your vocabulary Persona: a mask adopted by the author, which may be a public manifestation of the authors self, or a distorted or partial version of that self, or a ﬁctional, historical, or mythological character. • Allows us to acknowledge that, just as no written account can tell the whole truth about an event, so no "I" of a poem, essay, or story is exactly the same as the person who writes Irony Verbal irony: the device by which we say one thing but mean another Dramatic irony: the mainly theatrical device by which the audience has crucial information the characters do not Cosmic irony: our perception of the human condition, in which our efforts are thwarted, often by our best intentions • Irony is often achieved by using formal or understated language for extreme events • It can also be a way of characterizing through the voice of someone who makes verbal mountains out of molehills Character Voice • Chosen mimicry and is one of the most rewarding devices of imaginative writing • Your voice will never be entirely absent from your character • The voice that you as the author create involves not just word choice but the fundamental human capacity for mimicry • A characters voice comes out of, and can convey, a historical period, a class, a set of circumstances, emotions, and myriad quirks of typicality and eccentricity Point of View • In the literary sense, "point of view" is not synonymous with opinion • Complex and speciﬁc concept dealing with vantage point and addressing the question: who is standing where to watch the scene? • The answer with involve the voice of the teller, the intended listener, and the distance of closeness of both the action and the diction • You have signed a "contract" once making your point of view clear to the reader The ﬁrst point of view decision you make as a writer is the person in which you speak: First person: • point of view most frequent in memoir, personal essay, and lyric poetry. • Characters in a play. • Central narrator the I writing my story as if it were a memoir • Peripheral narrator--> someone on the edge of action , but nevertheless our eyes and ears in the story and therefore the person with whom we identify and with whom we must be moved or changed if the story is to succeed Second Person: • The pronoun "you" occurs • One character is addressing another • Sometimes indicates not the point of view of the story but a general truth • Can enhance a sense of intimacy, as if you are reading something private • The basic point of view of a piece only when the "you" is the character - usually in fact the reader, whom the author turns into a character by assuming she knows just how "you" behave in the situation she invents • Tends to be experimental and self conscious Third Person • Frequently used in poetry and ﬁction • Basic voice of nonﬁction writer • Voice with greater range of effects - from total objectivity to complete intimacy • Divided into three techniques: 1. Omniscient: godlike narrator, who may know anything past, present, or future and is free to tell us readers what to think or feel 2. Limited omniscient: who may go into the mind of one or perhaps two characters and also observe from the outside 3. Objective: who may know no more than a person observing the scene- the facts and whatever is present to the senses • Point of view importantly involves the question of distance between the author, reader, and characters • The degree of distance will involves a series of questions: who speaks? To whom? In what form? At what distance? With what limitations? • The author inevitably wants to convince us to share the same perspective
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