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Viewing: Blog Posts Tagged with: narration, Most Recent at Top [Help]
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1. Thursday catch-up

Emily meets Frida

Whew! We moved Jane back up to college over the weekend and then, back here at home, got to spend an extra day visiting with my parents, who had come to stay with the rest of the gang while we were away. And then it was hustle-like-crazy to catch up from being gone. Which is to say, business as usual.

It’s too late in the day for a nice coherent post, but I wanted to toss down some stories I’ll otherwise forget. Huckisms, mostly…he’s been on a roll. Tonight he wanted me to take dictation for his Christmas list—no moss growing on this kid. I dutifully wrote down his three longed-for items and he leaned over the page, frowning anxiously at my cursive. “What if Santa doesn’t know this fancy writing?”

***

This morning I read aloud from Child’s History of the World—our tried-and-true first history book for the younger set. Today’s chapter was about Sparta and Athens (mainly Sparta, with a thorough description of what a young Spartan boy’s life might have been like). Huck listened intently to the plight of Spartan seven-year-olds—an age only months around the corner from him—and had lots of interjections to make along the way.

After the chapter, I asked him to narrate in the casual way I generally begin with around age six or seven. Not casual enough. He instantly froze up. My kids have been about half and half with narration: three of them taking to it like ducks to water, and three feeling shy and put on the spot. Huck is one of the latter. He actually ran out of the room and had to be coaxed back by a big sister. I cuddled him into my lap and told him not to worry, it wasn’t a test, I was just curious to know if anything in the story jumped out at him.

Huck, scowling: No.

Me: Do you wish you were a Spartan boy?

Huck, galvanized: No! Because they had to leave their moms when they turned seven, and—

—and he was off, chattering away for a good five or six minutes about all the details in the chapter. This is the way it normally works with my reluctant narrators, and I smiled secretly into the top of his sweaty little head.

Suddenly, mid-sentence, he broke off and reared back to look at me, laughing. “Hey! You tricked me! I just told you all about it!”

We all melted with giggles. He was so honestly amused. All the rest of the day I was cracking up over the shocked, almost admiring tone of his “HEY!”

***

The other thing that happened this week is that Rilla invented a board game. It’s called “Elemental Escape” and involves players representing Fire, Water, and Electricity (twist!) racing to the finish on a track filled with monsters. She drew a game board and mounted it on cardboard, and the game pieces are all Legos. Pretty fantastic.

board game by Rilla

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2. Description is also Voice

By Julie Daines

I keep hearing people talk about descriptive narrative as though it's something different from internal dialogue. I suppose if you're writing some kind of literary fiction from an omniscient POV, it might be. But for the most part--especially in children's and YA fiction--it is the same thing.

Interiority and description are the same. It's all in the POV voice. It's all about what the POV character is thinking. Sometimes they're thinking about their feelings and motivations, sometimes they're thinking about what they're seeing/hearing etc.

All of it needs to be written from the mindset of the POV character.

Remember this poem by Wordsworth?

I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;

This is good practice to think about description in your own writing. Imagine a huge field of daffodils. Now ask yourself, how would a lonely or depressed person see that field verses an angry person, a betrayed person, or a happy-go-lucky person. Then write the description through their eyes and in their voice.

It's easy to try too hard to write a snarky narrative voice, but then when it comes time for description, wax into an eloquent Dickensesque voice. 

It should be all the same voice. 

All writers struggle with this, so practice and always keep it in mind.

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3. story inspiration and narration

I'm using my sketch of an oceanside driftwood teepee as a metaphor for a writer's process of constructing a fiction story.

First, there needs to be an interesting idea or concept for a story.  An image, and it usually is in the form of imagery, of some idea or concept springs from the subconscious mind, and depending on the energy  the image brings with it, reveals itself to a writer as a possible story line. 

Out of the solitary quietness of a walk along a deserted beach, the sight of a delicately assembled structure like the teepee fort can't fail to arrest one's attention.  What sort of person(s) constructed this?  Extrovert rather than introvert, likely; young, probably; feelings of insecurity, maybe; building sense, surely.  Of course it would make for a neat twist in a story if the builder was someone completely unexpected, like an older woman, who lives nearby in her own home, on a small but adequate pension from her share of community property she got when she divorced her boring husband of thirty years.  So why did she erect this teepee?  It's intriguing me already.  Don't steal this story!

Let's use the teepee metaphor a little further to explore the selection of elements needed to write the story.  I'm currently reading "Letters to a Young Novelist," by the 2010 Nobel Prize winner for Literature, Mario Vargas Llhosa.  I'm not so young, but never mind; it's interesting.  Llhosa describes the elements one needs to decide on when setting out to write a story as:
  1. narrator
  2. space
  3. time
  4. level of reality
His first three criteria are not so different than those discussed by other authors, but Llhosa's eloquence and fresh ways of describing them are worth reading.  Narrator and space as discussed by Llhosa are intertwined, and are usually discussed by other writers as the Point of View (POV) to be used in narrating the story.  In choosing a narrator the writer can employ a character from within his story, i.e., someone who occupies the 'space' of the story, and who tells the story in his own words, such that the operative pronoun used throughout the narration is "I."  Of course the narrator can also be a plural narrator, such as an entire classroom of students observing the new kid arriving in class (Llhosa's "Madam Bovary" example), in which the operative pronoun in the narration will be "We."  His examples of the use of the collective (plural) pronoun in literature is worth the reading.  The story narrator can also, of course, be someone outside the story space, i.e., an omniscient narrator.  Nothing new about that, but again, the examples he uses from literature are marvelous and prompts one to think of this potential choice in new ways.  A third category of narrator he discusses is the 'ambiguous narrator,'  one concealed behind the second person, and who talks directly to the reader.  Good examples given here, too, such as Victor Hugo and "Les Miserables".

More on Llhosa later.

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4. The Book Review Club - Leviathan

Leviathan
Scott Westerfield
young adult/steampunk

Steampunk. 

Already skeptical? Or intrigued? 

Westerfield's romp into the on-again off-again genre of steampunk will definitely leave you thinking. Granted, the complicated web of alliances that led to the first World War could be something tagged as, dare I say, dry and boring? However, by bringing in the fantastical, Westerfield makes a complicated but important era of history a little more accessible. How many students will groan, however, when they learn that Darwinist fabricated creatures did not, in fact, exist. Oh well. Whatever it takes to grab their attention and get them interested, right? 

In short, Leviathan is the story of Aleksander, sole heir to the Archduke of Austria who is being hunted by Franz Joseph and Germany to be done away with quietly, and Deryn, young Scottish girl passing as a boy in order to serve in the Royal Air Force. Their paths cross when the airship Leviathan--part whale, part a thousand other creatures--that Deryn is assigned to is shot down by German planes over the Swiss Alps, where Alek is hiding out. The two join forces to battle a common enemy, the Germans.

If you like science fiction, you'll enjoy. If you like history, you'll have fun pulling apart the real from the alternate. If you like finding new tools for writing, well then, you may actually secretly (or not so secretly) whistle for joy. 

Narration is probably one of the hardest aspects to incorporate into writing without killing a story's pace. We demanding readers want action, not a bunch of telling, right? Westerfield has his work cut out for him with this piece. Not only does he have to get in the usual suspects-character appearance, character backstory, historical setting, setting-he has to explain his fabricated creatures, how they work, how they came into being, and all of that alternate history. It's not small feat. 

Westerfield tackles the weighty challenge by combining narration with other story elements, such as action, dialogue, and emotional responses. Much like the Darwinists in his story combine life threads of various animals to create fabricated war animals, Westerfield combines to create wholly new show-tell and tell-show “beasties” that turn a potential pace killer into a pace maker.  

It's marvelous work, if a writer is looking for a few new tricks. How do I work narration into dialogue without it becoming an information dump? It's here. How do I distract with action while getting across narration? In Blake Snyder's words (Save the Cat) pull a Pope in the Pool? Westerfield uses a sword fight. Dissertations could be written on that sword fight alone. It's narration. It's a segway from Act 1 into Act 2. It's a symbolic cutting of the

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5. Teaching Tips - Narration: The Art of Re-Telling

Amy M. O’QuinnThis week’s teaching tip article comes from Amy M. O’Quinn.

O’Quinn is a pastor’s wife and former schoolteacher-turned-homeschool mom of six. She is also a freelance writer who enjoys jotting down ideas around the fringes of family life. She specializes in non-fiction, and her work has been published or acquired by magazines including Jack and Jill, US Kids, Guideposts for Kids, Learning Through History Magazine, Highlights, GEORGIA Magazine, Homeschooling Today, International Gymnast, etc. She is also a product/curriculum/book reviewer for The Old Schoolhouse Magazine and a regular columnist for TEACH Magazine. The O’Quinns live on the family farm in rural south Georgia. You can find Amy’s blog, Ponderings From Picket Fence Cottage, at http://www.homeschoolblogger.com/picketfencemom.

NARRATION: THE ART OF RE-TELLING

Picture this cozy scene. You are sitting on the sofa with your little boy tucked closely beside you enjoying a wonderful picture book or an exciting read-aloud. Your son listens with delight and begs for more. So, of course you continue, talking about the pictures or what’s happening as you go along.

Later, when Daddy comes home, your little boy runs up to him and excitedly begins to retell (in his own words) the whole story in great detail. You know without a doubt that he has absorbed and comprehended what you read earlier in the day. Moreover, a month later, he retells the same story to Grandma, again remembering small details that you yourself have forgotten. Your child has naturally utilized one of the greatest learning tools there is, and one that will certainly help him in his educational endeavors as he grows older. It’s called narration.

WHAT IS NARRATION

Narration is simply the art of “telling back”, and it’s a technique often used by classical educators and those who employ the teaching methods of Charlotte Mason (a 19th century British educator). However, on a broader scale, it’s much more than that, and it can be used by anyone of any age to facilitate concentration, vocabulary, comprehension, memorization, language skills, and even writing skills.

WHY USE NARRATION

One of the easiest ways to explain the importance of narration is to borrow from Miss Mason herself. In some of her writings, she used the illustration of a sick patient in the hospital. The person was suffering from intense pain and the doctor had written the remedy on a piece of paper. He told her this would alleviate the pain, however, he would only let her look at the card for a few minutes. Then the card would be destroyed permanently, and the doctor wouldn’t write it again. Can you imagine the intense concentration the patient would put forth to remember what was written?

Although a small child naturally “tells back” what he hears, it’s a skill that should be encouraged and developed when he is very young. Because just think of the benefits when the child is older and needs to remember certain information. If he knows that he will be asked to ‘retell’ after a reading, he will definitely pay more attention to the material at hand so that his narration will be accurate. What he can tell—he knows! He has to think, sift through the information, and choose the important parts to narrate. He has to assimilate the material, make it his, and put it into his own words. With this concentrated effort, he WILL remember!

Charlotte Mason said, “What a child digs for becomes his own possession.” In addition, oral narration is only one step before written narration, which is basically composition! So technically, oral narration is a forerunner to processing one’s thoughts and putting words on paper in a way that makes sense. It’s a skill that’s invaluable.

NARRATION AND YOUNG CHILDREN

The art of narration begins very early, even before a child can read. As mentioned above, children love to “tell back” the stories they hear. And have you ever noticed a little one who will pick up a beloved picture book, turn the pages slowly, and perhaps ‘read’ it aloud to a younger sibling or even a favorite stuffed animal or doll? This is beginning narration, and the continuing pattern is a natural progression—if the child is encouraged and the skill is fostered. Too often, this desire to “tell” is schooled out of the child as he grows older. But language expression is so important, and the ability to organize and demonstrate the knowledge he gains from books is priceless.

IDEAS FOR USING NARRATION

We have established the fact that narration is a valuable learning tool, so let’s look at some practical ways to use it with young children. And because we want our little ones to retain their natural curiosity and desire to “tell back”, we don’t want to overwhelm them with heavy ‘educational’ language. Instead, a gentle approach is best; plus this early discovery stage is so much fun and a joy to witness. Many parents probably already do many of these things without realizing they are creating a solid foundation for future learning.

* Use high quality ‘living’ books. Even young children can appreciate well-written literature, and they will understand far more than we give them credit for.

* Do some pre-reading activities. Let the child look at pictures and guess what will happen in the story.

* When reading the story, use different voices, inflection, sound effects, and even suspenseful pauses before turning pages. If your child asks questions, answer them. It’s easy to become a bit frustrated when we want to read and they want to talk about what’s happening.

* Turnabout is fair play. Ask your child questions about the story or what he thinks will happen next.

* After you are finished reading, ask the child to retell the story in his own words…you’ll be surprised at the detail.

OTHER IDEAS

· Record your child’s narration on cassette or CD.

· Let him draw a picture to ‘tell’ about the story.

· Let him dramatize or act out the story, use a flannel board, or how about a puppet
show?

The possibilities are endless, and no matter how you choose to foster your child’s narrative ability, encouraging him to talk about or retell what he’s heard or read is extremely important. Narration is a skill that will pay great dividends farther along the educational road.

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4 Comments on Teaching Tips - Narration: The Art of Re-Telling, last added: 1/20/2009
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6. Sneaking Out The Backdoor

Free Food for Millionaires"The funny thing is that if you were a millionaire like some of these managing directors shaking down seven figures a year, you'd have known to push your way ahead and fill your plate. Rich people can't get enough of the free stuff.' Walter shrugged. There was no reproach in his tone; in fact, there was a wistful admiration in his voice, as if he were beginning to understand how the world worked."

That's a bit of clever dialogue and a life lesson from first-time novelist, Min Jin Lee.

Last year, she converted her experiences of rubbing elbows with money and power in the excellent-novel, Free Food for Millionaires. She served up practical life lessons from her writing career, including:

A primer on How To Build Stronger Transitions In Your Writing.

A guide to Researching Your Book

A brief, brief handbook on How To Outline Your Novel

An essay about How To Write Omniscient Narration

And, finally, How To Write Your First Novel

Two reasons for this repeat. First of all, some "breaking" news caught up with me yesterday. Second of all, I'm sneaking out the backdoor and going on vacation tonight. I'll be out all next week, running some of my favorite interviews from the archives to keep you company. See you in a week... 

 

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7. LadyStar Video Alert! Keiko Matsui’s “Wildflower”



Jessica Hoshi a cheerful and optimistic girl

“Keiko-sensei is the best. She has so many albums and has great saxophone players on almost all of them. My favorite solo is the one from “Souvenir” and also the one from “Light in the Rain” and I can play them both on my alto and on my tenor. We’re gonna add her site to our Fun Places to Visit List ’cause she’s one of our favorite musicians. Ja!”

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