In the Beginning

Write the opening paragraph of your scene (that is, your story for LHW). Skip the David Copperfield crap, as Holden did. Please respond by 4 p.m., Wednesday, Feb. 10.


(Let's start in the middle -- that is, closer to the central conflict or tension. . . let's avoid elaborate descriptive setup; rather, put the "characters" in motion asap. . . don't summarize what people say when you can use dialog instead. . . if a character is important to the story, give a couple of descriptive details when you introduce him or her -- not at or toward the end of the piece. . . And, please, have a story worth telling. It seems to me Michelle's -- as edited -- comes close to this ideal.)

Procedural

Morris Markey's literary journalism piece, "Drift," belongs to a genre referred to as "the procedural." To your mind, what characteristics of the piece make it an example of the genre? (Late addition: How does this help with or determine the structure/organization of the piece?)

Now, as early respondents have noted, the piece has a noir-ish atmosphere. What is the connection of that atmosphere to the point or theme of the piece?

Remember, we're practicing good writing here, not just literary analysis. Your comments should be crisp and clear. Avoid generalizations, tortured syntax, and muddy language.

Your response is due by noon, Sunday, Feb. 7.

Crane-ium

If you wish to answer another question besides the one below, try this: Why does Crane refer to the tramp as the "assassin" in "An Experiment in Misery"? Is the term serious? Sardonic? Metaphorical? Does it say as much about the youth as about the tramp?


Is Stephen Crane's "Man Falls, a Crowd Gathers" news? Why or why not? (Feel free to respond to each other's comments, not just the question.) Your response is due by 4 p.m., Tuesday, Feb. 2.

Welcome to Literature of Journalism

Tell me something I ought to know about you that will help me help you as a writer -- your aspirations, your fears and doubts, your literary or journalistic heroes, etc. Don't be afraid to read and bounce off each other's comments. Your own comments should be as clear and complete as you can make them in a blog response. Remember this is my introduction to your writing. Impress me. Or at least don't bore me. (First lesson: That's about the worst thing you can do to a reader. What's the worst? Probably to unintentionally confuse him or her.) Your response is due by 4 p.m., Wed., Jan. 27.

Hamill vs. Breslin

Although written only five years apart and about similar events, the Breslin and Hamill stories we read for class feel vastly different. Identify one literary technique that, to your mind, contributes to this different feel and explain how it contributes. You might choose, for example, from point of view, narrative structure, choice of language, and so on. Please be as specific and complete as possible. Your response should be posted prior to class on Wed., Dec. 10.

Take the Cannoli

If next semester you were to write a story about a place or an event a la Southern, Thompson, or Vowell, what would it be and why? The only restriction is that the place or event must actually be accessible to you. Please respond prior to class on Wed., Nov. 19.

The Kentucky Derby Is Decadent and Depraved

Compare the narrator of Thompson's piece with that of Terry Southern's "Twirling at Ole Miss." In what ways are they similar? Dissimilar? Your response is due prior to class on Wed., Nov. 12.