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Miami Childhood Memories Prose Writers & Nonfiction Stories Responses

Miami Childhood Memories Prose Writers & Nonfiction Stories Responses

Question Description

Help me study for my Writing class. I’m stuck and don’t understand.

Responses (four) should be substantive and thoughtful, but they need not be formal. They should be in standard written English, though, not text-speak. You are welcome to comment “I totally agree with you, Jane” or “Great point, Bill” but these will not be considered substantive enough for credit. Responses should expand on a point, disagree with a point, compare or contrast to another passage or text, or explore a new way to look at the craft point. Make sure you read all the responses before yours, and please refer to others who have responded before you by name when appropriate (e.g., “Although I agree with what Susie said about Wallace’s repetition, I think what he was really after was a sense of . . . .” ). Do not simply repeat a response that has been submitted before yours. This would be plagiarism.

1- In The Rose Metal Press Field Guide to Writing Flash Nonfiction, writer Lee Martin talks about memories from his childhood and how these make an united voice in his writing. He states ” The voices we use in our writing come from sounds and tones we’ve soaked up from the people and the institutions around us, particularly when we were young.” This statement is very valid and interesting, as writers, we express our originality through incredible stories that we have been able to experience. In this chapter, Lee Martin also mentions the importance of mixing the communal and the personal voice to reach the engagement on the reader. Another solid point to add to this subject. Mainly because putting these two voices together creates a tension in the speaker, which pushes the subject to engage a larger audience.

What are some ways to mix these two kind of voices? was Lee Martin right about the emphasis of writing about sounds from the people and institutions around us?

2- From the article, Aristotle cites, “Prose writers need to enhance the effects of our writing through drifting our energy in the attention of the audience through the sound of our sentences. Therefore, writers can raise the standards of their effectiveness through sentences that emphasized the listeners rather than the readers.” He later adds that writers should be able to learn how to forcefully immerse the audience of their prose through structuring their sentences to fit in and have a rhythmical flow. For this to achieved, sentences should be controlled by proper punctuations, use of syllables appropriately, and the interrupts in their respective positions when the need arises. Different patterns give out different rhythms, and therefore it is crucial to include phrases where they are supposed to be inserted to create the flow. This is because rhythms need to start from the beginning until the end. Does rhythm affect the readability or the attention of the reader? Are elements such as syntax, sound, tempo useful in the prose? Do readers concentrate on the flow of the prose?


3- Not unlike genre itself, the voice in creative nonfiction is best defined by what it is not. Voice is not a point of view, although the two are related. When we ask about a writer’s voice…., we might be asking about the intimacy of point of view.”

According to the chapter, the development of nonfiction requires careful selection of words and arrangement of words in a way that can be confusing if a person has no skills or knowledge in writing nonfiction stories. The voice is presented by the in-depth description of author’s words and how he uses them to create it. It is the creativity, mastery, and relevancy in the words that the writer utilizes to develop the characters, themes, perspectives, and messages to the audience in a way that they connect with it and develop emotional responses. However, the good news is that even though it is complicated to understand voice in creative nonfiction, a person can develop. The question that one should ask themselves is, what does one has to keep in mind in the entire process of creating a constructive and strong voice throughout their creative nonfiction? What are the common mistakes that one should avoid that limits the power of the voice in the nonfiction essay?

4- When Jennifer Sinor discusses the subject of voice , she claims that “only when you fully understand a subject… does that confidence translate to voice on the page”. I found this interesting in the context, as she also claims to know a subject you must know it almost intimately, something i can partially agree on. However, do nonfiction concepts have to rely on an intimate knowledge of a subject for a voice to appear, or will some pieces create no voice on their own?